Philadelphia

Dispatches from the Awesome Lady Squad

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Hey Awesome Ladies!

Spring has technically sprung, despite the nastiness of the current weather, and with it comes new blooms of Awesome-ness. LADYFESTO! now created we march ahead onto bigger and even better projects.

What’s next, you ask?

Let me share with you three upcoming opportunities to take part in the Squad:

1) A Frank Convo About the Classical Canon:

I’ll admit it. I’ve been having some tough conversations inside my own head and with others about how to deal with being a contemporary female artist in relation to “great” works from the past. And so, to help sort through some of these, I’ve invited a bunch of smart and thoughtful ladies who spend a lot of their time in these works to chat with me (and maybe you) about how they navigate these waters. My goal is talk openly about how and when to keep aspects of these plays from the past while still holding true to our Awesome Lady principles of the present.

Want to join? Then come to Headlong Studios (1170 S Broad St) on May 12th from 3 – 5pm to be a part of the conversation.

2) An Awesome Lady Talking Toolkit:

Back in the early months of this year we identified a series of problems the Squad wanted to solve and some things we’d like to have to help to do. One of the most frequently mentioned “wish list” items were these:

  • Skills to handle tough conversations about gender parity.
  • A way to talk about this that doesn’t become apologetic or defensive.
  • Something to say when I sense people starting to roll their eyes.
  • The ability to talk and explain the “no” to a project that doesn’t conform to my moral code.

This meeting will be the first of several to tackle this solution.

Maybe we’ll make a workbook, a writing exercise, a checklist, a document with a series of go to argument points, something even more Awesome we can’t even yet conceive!!! If you want define what form it will take, strategize a plan and timeline for its creation, and figure out how to roll it out for the Squad at large, this meeting is for you.

Headlong Studios (1170 S Broad St) on May 19th from 7 – 9 pm to join in.

And finally!

3) Awesome Lady Observerships (ongoing):

Being a director can be a lonely business. Whether you’re a season pro or a newbie to the game, rarely get to watch each other in action.  Chatting with Allison Heishman the other day we talked about much we both wanted the chance to just sit back and observe other ladies do their Awesome directing thing. In our artistic landscape – one filled with abundance and support – we figured getting to pick up tools, see problems solved in new ways or even just admire someone else in action is just the thing to help solve this.

So! If you’re intrigued, send an email to swimponypa@gmail.com and the following info:

  1. Your name

  2. If you’re interested in letting people observe you and any upcoming work they might be able to see

  3. If you’re interest in seeing someone else’s work

I’ll put some kind of list together and follow up soon.

Whew! That was an awful lot of Awesome-ness.

And I think that’s all for now, Ladies.

– Adrienne

Local is local is local

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What is local? What do we mean when we talk about all politics being local? The value of supporting local art?

To the internet!

As an adjective “local” is used to mean belonging or relating to a particular area or neighborhood, typically exclusively so. As in words like community, district, neighborhood, city, etc. As Google so helpfully points out, one can research things like “local government” or “local history.” Also, this word is used as an adjective in the sense of being at hand, near, close by, easy accessible, convenient and handy. One might eat at a “local restaurant” not only for its quality but also because of its proximity to oneself. Also as in serving or related to just a particular defined area – a local bus, a local infection. In this sense, the word local perhaps more restricted, contained or confined.

As a noun, a “local” is a person or thing, that inhabits such a local area or place. An event might be filled with “locals” as opposed to outsiders or visitors. Local here means inhabitant, resident, native. The “locals” complain when outsiders come in and make a mess.

A local lives in the local place doing local things in their local way.

Local can be small. Local can be confining. Local can be networked. Local can be supportive, limiting, loving, stifling or neutral.

It can be any these things. It just depends if the locality that’s local to you, the local, is locally working in the way you wish.

Lately my impulses have been feeling awfully local. I think about the fact that I am in the midst of a number of localities, when you think about it:

  • My local city Philadelphia with its governance and policies
  • My local neighborhood, block and street
  • My artist community at large with its myriad of members
  • My specialty of theater arts in particular and the generative/deviser/collaborative/weirdo/whatever-you-want-to call-it subset within that
  • My community of administrators and advocates for sustainability
  • My network of Awesome Ladies
  • My circle of artists also working other jobs to survive

The list goes on. These are not large-scale national interests, for the most part. There might be theater happening in New York and D.C. that I see and appreciate but until I am literally taking and making my work there, it’s still a reference point. It’s not something impacting me in particular in a day-to-day way.

This is the thing about the things around me. They are close. We share space and place and resource.

They are local.

This is why I think I feel the need so greatly to talk and reach out recently. There might have been a time when I would have said, “Ah, yeah, those people do things I’m not crazy about but they don’t affect me.” More and more though it feels like this just isn’t true. I can’t swim in the pool and not get touched by the water. I am in the mix. I am affect, even just as a ripple, a current of what’s in the soup around me. And unless I am to bounce myself out, I must respond with the currents. I can swim into them or against them but I am linked with them through nearness.

My nearby community is (literally) around me. And like it or hate it that will always be true unless I leave it.

It’s like the saying (that I just made up this moment) goes: Local is local.

So I’ve been asking myself this question: how do I take the things that I love about being a local and deal with the things I really don’t?

And something that frustrated me at first was an ability to even begin making headway on such massive and all consuming problems like arts sustainability or the funding community or the meaning of a career in this field or trying to tackle gender inequity. It seemed like there’s just SO much to do. It seemed so hard to even begin to think about where to start.

And then I thought: just start with yourself and work outwards.

These are the projects you’ve been seeing from Swim Pony:

  • The Awesome Lady Squad
  • Cross Pollination
  • Residency-based theater works like WELCOME TO CAMPUS
  • Site based plays like THE BALLAD OF JOE HILL
  • A soon to come Adjuncts Soiree

I am tackling artistic and advocacy based questions one at a time through projects that start close to me and begin to push outwards from this center. In a way it feels like I’m taking my many kinds of local-ness and smashing them all into the same super tiny space and making them reckon with each other.

For many years I did a lot of work separating out these different communities by compartmentalizing them in myself. I became a local in each locality without require the others to enmesh. But these new works buck this method. They are projects that are active attempts to put my worlds up against each other and begin to make them touch. It’s a way of easing the work I do within my own brain and heart, by letting the outside world begin to hash this out. It’s meant putting one perspective into view of the other and seeing how they both shift in relation.

So that rather than trying to constantly be outside of the place I am in for one reason or another, I can slowly grow the space just beyond my own personal physical borders into a locality that can contain all the aspects of what I define myself as local to.

So that some day the city and community and women’s group and art community are all able to be in the same space without conflict: when local is local is local in me.

– A

Ladyfesto!

cooltext1368115366Drumroll please!

A few weeks back I promised you that the Awesome Lady Squad would be soon bringing you its LADYFESTO. In case you don’t remember I said that this document was about

…asserting the things we believe to be true into the world around us: that women are not lesser qualified or weaker, that our work is not niche or in addition to. It’s knowing that there is a space in which those views are supported and those intentions are believed in. It’s a promise that if we are able to articulate it, others will eventually understand the beliefs we know to be true.

Well guess what? It’s here. So, at long last and after great amounts of work we bring you:

THE AWESOME LADY SQUAD LADYFESTO

We*, the Awesome Ladies of the Awesome Lady Squad, hold these most awesome truths to be our evident and awesome tenets:

1)   We believe art is powerful and necessary.

  • As artists, we have the power to capture and reflect the human experience
  • As artists, we have a super power in our ability to influence the broader culture with our work

2)   We believe in supporting and celebrating our community of Awesome Lady artists

  • We see our artistic landscape as abundant and plentiful of opportunity and resource and do not subscribe to model of competition and scarcity
  • We believe that the successes of our peers are beneficial to all of us
  • We believe in mentoring Awesome Ladies of the future and preserving the legacy of current Awesome Lady artists

3)   We believe in an Awesome Lady’s equal worth as an artist

  • We believe in our right to a place in the field and that our artistic products are not “niche”
  • We believe our community should be a safe and respectful place for us as creators
  • We believe in equitable pay for equitable work and in the value of parity of representation for all artists in all aspects of our field – on and off stage, in the board room, and on grant committees

4)   We believe that being a Lady can inspire us but it does not limit or define who we are

  • We see the perspectives and tools we develop as Lady artists as being of value
  • We believe a Lady artist is a multitude of things and that a variety of different experiences and identities intersect within each individual Awesome Lady
  • We believe in challenging assumptions of what “female” art can be
  • We believe our gender is not the only lens through which we understand our individual experience of the world and the work we make

5)   We believe in supporting other marginalized groups

  • We recognize that our voice is not the only voice that is under-represented in our artistic community
  • We believe that the more representative our work is of our community’s diverse population, the richer and more connective it becomes

6)   We believe in taking action according to these principles

  • We believe hard truths need to be stated publically and that there is value in honest and open critique of the mainstream
  • We believe in being uncompromising in our refusal to tolerate such oppressions
  • We believe in the power of the collective to dissolve damaging narratives and structures

 

*Expanding on a couple definitions:

Who are “we”?

We are Awesome Ladies who are inclusive of race, age and sexual orientation. We are ladies who are contained in a variety of body shapes and come from varying socioeconomic backgrounds. We can be funny, or not. We are experimenters or follow in a long line of canonical learning. We are history challengers and embracers, listeners and talkers. We are as varied a number of things as can be imagined. The one thing we share is our inherent Awesomeness.

Why call yourselves “Ladies”?

Words like “female”, “gender”, “woman” etc have long and complex histories and definitions that are in a constant state of flux. While some members of the squad may identify with all, some or none of these identities, the intent behind “Lady” is to create a new label that is self-applied for those who believe they have a kinship with the identity of the Awesome Lady Squad.

In other words, an Awesome Lady is an Awesome Lady because they define themselves as such.

And that’s why they’re part of the Awesome Lady Squad.

Where we go from here

Hey all. It’s March 31st and the official end of my month of blogging here on the topic of gender parity in theater. I recapped the other day some of the projects that this month has inspired and begun, but I also wanted to say a couple things not only about those specific projects but about a few bigger picture things that have slowly amassed over the course of this month on a larger, perhaps more philosophical level.

One of the lessons I feel like I’ve taken away from this month of work is the sense that it’s important to keep perspective on two scales – the very small and personal and the very large and grand.

I find for myself that when I get too stuck in the minutiae of my own little world and my own little perspective on that little world, I can miss solutions or a sense of possibility. It’s easy when we are used to seeing something all the time to assume that it will always have to be that way. There are trends of inequity that have persisted for so long they have become banal and commonplace. And so in listening to other creators, in gathering voices of women artmakers en masse, by looking at my field as a whole and branching into other mediums as well, by looking at this problem not just as a personal one but a community-wide issue, I feel like I’ve gained a feeling of possibility, of mobility that I haven’t had in a while. Stepping back and looking at the larger picture has made me say more forcefully there are things I see in my community that are not acceptable even if they are common.

Simultaneously, I have also gotten better at tasking myself with small concrete things that I can do in and hour or two with a few people. I have become more able to say, “What can I do right now to make a step towards a larger goal?” rather than getting frustrated at an inability to fix everything in its entirety. I have felt easier in making a step forward, even if it is imperfect or not totally complete and saying that something good and finished NOW is better than something immaculate that takes months to perfect.

Another lesson learned is the power of a system that can handle multiple points of entry. One of the most awesome things about the Awesome Lady Squad is the fact that there are projects starting to gain momentum that I am not the sole driver of. Projects that I am appreciative of but may not have the expertise or immediate interest in prioritizing. If the Squad is to succeed I think our responsibility must be shouldered by many. Because the truth is some day I’m going to get busy with a project or a life event. Or there will be (maybe already is) more to do that I have time to oversee. And one of my core beliefs is that we will do so much more if we all trust each other to take your idea and run further with it than you knew was possible.

And last, I’ve realized that there is nothing more powerful that one human looking another human in the eye and doing your best to speak honestly and listen to each other.

That sounds mushy.

It is.

But man, is it also effective.

I’ve written thousands of words about these issues, spent hours trying to articulate exactly how I’m feeling and what I want to communicate. And yet, one of the most impactful moments I’ve had was when I sat down talked with some other creators about how their choices affected me and listened honestly and openly to their response.

If there is anything that I take from a month of work trying to advocate for female artists it is this: we have to be brave enough to start saying what we actually think and feel. To do so assumes that real and substantive change is possible. It assumes that our views are valuable enough to be heard and flexible enough to absorb response.

It is hard to tell someone, especially someone you admire and care about, that their actions might have consequences they do not intend. It also feels like the closest I’ve come to actually shifting the way someone will think and act in relation to this topic in the future.

And in this way, let me share where I go from here:

I will continue to work with The Awesome Lady Squad in the coming months. I’ll keep you abreast of those changes.

I will return to many of the questions about sustainability and how to engage in a long and happy life as an artist.

I will send some focus to other special interest groups and work towards a community that is aware and equitable in all aspects.

I want to encourage us, Philadelphia, to start engaging in these harder conversations. The ones that scare us. The ones that are uncomfortable. The ones that might mean we really have to rethink some of the ways we do things. These are the ones that will make us the city that others look to. These are the things that will create a more sustainable and strong community in the future.

Feeling the renewing possibilities of the imminent spring,

A

Recap

Something strange is happening.

In the last two days nearly 1,400 people have looked at this post about jealousy from nearly a year ago. I re-blogged it about a week ago where it was viewed a few hundred times through the re-post link and then all the sudden yesterday, when I expected lots of traffic for the Cross Pollination application, this post starts getting huge numbers of people visiting the page. From the original link. And they’re all getting referred from facebook I might add. But not, as far as I can tell from someone I know.

Weird.

Not complaining. But, weird, right?

If you’re responsible and you’re reading this: Who are you? How did you make that happen? Reveal the mystery!

Anyway.

Onto things of a more Awesome vein…

cooltext1368115366It’s March 27th and the month of writing about women in the arts is nearly over. For me however, I feel like the work is just beginning. And there have been a lot of beginnings that I’m hoping to continue working on throughout the next year. Part of that will be solo, a lot of it will be through the work of the Awesome Lady Squad. I know that for much of it I’ll want enthusiastic supporters to help take these ideas further than any single human is able.

So I thought I’d look back at this month and share some of the things that this writing has sparked and highlight some of the projects that have developed legs and started walking in the event that you might want to walk along with them. I give you:

STUFF ON GENDER PARITY THAT’S HAPPENED THIS MONTH AND WHERE IT GOES FROM HERE

–       The Awesome Lady Squad met at the end of February and created a document of stuff that we’ll be working on over the coming weeks and months

–       The Squad chose as it’s first project to create a Lady-Festo to define its core ethics and beliefs. Look for it’s final edited version in the next week or so.

–       I got to e-know a bunch of other advocates for female artists and am planning to meet up soon. I hope to create some kind of multi-city forum to share thoughts and methods.

–       I made lists of female directors and designers that folks who are looking for women to fill their artistic projects can use. This list may soon move to a permanent spot on the blog so that it can be accessed easily forever. Keep sending names, I’ll add them.

–       I threw out a proposal for a grant that would incentivize representation of female artists. It got a lot of positive feedback. It’s still in progress. But with the help of a few other folks it looks like we’re actually going to get this in front of the faces of some funders for consideration in the near future. And I still want to know ways you see to make it better.

–       I’ve started gathering stats for this coming season akin to the ones I found last year. If you want to help data tabulate, let me know. And if you notice an imbalance in companies you know and love, there’s still time to ask them to take action towards a season you believe in.

–       I’ve started wondering, hard, about what the legacy of canon means. I’m wondering if it isn’t time to start asking some hard questions about this kind of work.

–       I’ve started thinking based on some responses to posts about the definition of “Lady” and “female” and “gender” and have been wondering how that question can play a role in these conversations

–       I’ve had some private, tough, conversations with people who are honest in their pursuit of becoming Awesome Lady allies. They’ve inspired me and I’m working on how to share some of that process with you on the blog.

And finally, I’m continuing to look for ways to help share the many forward moving directions this work is taking. So if you have seen or read or thought about something in regards to this that you’re passionate about, wanting to help or maybe even take the lead on something I’ve outlined, LET ME KNOW.

Because a few words feverishly typed alone in my office every day can make this great an impact, I can’t wait to see how much more we can do as we expand forth.

– A

Lady-festo is coming!

Hey all,

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Do you know what those giant sticky notes are? They are some incredibly awesome and hard work by a whole bunch of awesome ladies these past few days. We’ve made some awesome progress and we’re really close to a full on Lady-festo. And I wanted to share just a little of what we did in these two meetings, for those that weren’t able to join us.

As I prepped for it, I read up on a bunch of other people’s manifestos. And I thought, “What exactly is a manifesto?”

So I found a few definitions from different dictionary sources online:

A public declaration of intentions, opinions, objectives, or motives, as one issued by a government, sovereign, or organization.

A written statement declaring publicly the intentions, motives, or views of its issuer

The word’s root is Latin – manifestare – which means to be clear and conspicuous. To be unambiguously public in these beliefs. It’s the idea that if you share the view of the world you see around you others will also become aware of it. What struck me about this is that it is not a document about wishing or dreaming or becoming. It’s about what you know, deep down in a fundamental way, to be true. Which means the things that we define in our manifesto are not our future, but the things we already know in this moment.

It’s about asserting the things we believe to be true into the world around us: that women are not lesser qualified or weaker, that our work is not niche or in addition to. It’s knowing that there is a space in which those views are supported and those intentions are believed in. It’s a promise that if we are able to articulate it, others will eventually understand the beliefs we know to be true.

So we spent time articulating these ideas as beliefs. We tried to write down all the things that we know about Awesome Ladies, even if we don’t always see that reflected in the world. We tried to articulate those things as positives (“I believe X” rather than “I don’t believe Y”).

Then we shared those first ideas, clarified and honed them. We linked the things that seemed connected and then we worked to figure out how say them in the most simple and essential ways. We put forth great effort to get to the very core of our Squad’s essence.

And soon, I’ll get to share that with all of you.

I’m pretty psyched.

I think it will be awesome.

A huge thanks to everyone who made it out to one of (or both!) our Lady-festo nights:

  • Melissa Amilani
  • Hillary Asare
  • Dawn Falato
  • Arianna Gass
  • Colleen Hughes
  • Emily Johnson
  • Rebecca Joy
  • Gina Leigh
  • Jane Moore
  • Erlina Ortiz
  • Catherine Palfinier
  • Gabby Sanchez
  • Hannah Sandler
  • Meryl Sands
  • Catharine Slusar
  • Isa St. Clair
  • Sarah Schol

– A

Applied Mechanics gets an Awesome Lady Squad Commendation!

Hey friends,

Many, many things a brewin’ here at Swim Pony HQ.

I know I promised you Cross Pollination would unveil here today but this weekend was just too terribly full of fantastic awesomeness and I need just a couple more days. So Wednesday it will be! (This time I promise, for real…)

Awesome Lady Squad is in high-level action mode! We had the first meeting to for the Awesome Lady Lady-festo last night and I am humbled and awed at the fantastic minds of Philadelphia creators. Look for updates on that soon!

Today, however, I thought I’d share something new. While much of our attention in this space has been on shedding light on things I’d like to change, I think it’s also worth pointing out the amazing artists who are already modeling the kind of work that ALREADY gives voice and space to women creators (and gaining a stellar artistic rep at the same time). So every once in a while I’ll be asking some questions of folks doing just that so they can share how they are successfully getting their work into the world in a way that the Awesome Lady Squad commends.

Today, get a bit inside the mind of Applied Mechanics. I chatted a bit with Becky Wright (a good friend) to find out more. But first! A pretty picture of their work to entice you:

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1)   How does gender parity and awareness of women in theater play a role in selecting your material?

We are a very collaborative company, founded by women, with majority female members and an alternative-model labor-sharing administrative structure.  Every piece we’ve ever made has come from an idea or a spark of inspiration from a company member, so in a sense the work is always reflective of the concerns of the group.  I think it’s safe to say that most of us identify as feminists and that our artistic motors have been shaped by our experiences as women in the world, as female artists—and, for our one male company member, his experiences as a gay male artist.  Collaborative art-making involves such intense processes of interrogation, exploration and reflection—so I’d say, overall, gender and female-artist awareness play a major role in everything we do.

To speak more specifically, we’re currently working on a piece inspired by [Russian feminist art/punk activist group] Pussy Riot.  This idea came from two company members who were following their story particularly closely at the time of their arrest.  We all intuitively leaped on this seed of an idea; as we began research and exploration (the early stages of our development process) we quickly discovered that a big reason why Pussy Riot’s story and the questions it brings up resonated with us so deeply is specifically because they are female artists.  Their story is our story.  And they have done these powerful, dangerous, earth-rocking things with their position as female artists, claiming that position as one of profound subversive power and gigantic imaginative and radical influence.  Our piece has expanded to encompass questions about contemporary feminism, its oppositional relationship to global capitalism, protest art, 21st century resistance, and the socio-historical qualities of a moment when artists’ voices are politically important. These questions are close to our hearts and central to our ongoing artistic project.

One thing that’s been really nice about working on this piece, the first of ours that takes on explicitly political content, is that it’s made us realize that we’ve actually been dealing with these questions all along: all of our past pieces in some way engage questions of power and control, allocation of resources, society’s power to shape identity, and the possibility of communities to affect change.  These questions are central to feminism.

Again, some brief specifics: in our recent piece Vainglorious, a large-scale historical fantasia about Napoleonic Europe, we had a woman playing Napoleon and a man playing Josephine (and lots of other cross-gendered casting, mostly in the form of women playing men, throughout the world of the piece.)  While we made this choice based purely on company members desires and personal qualities, we had to recognize after the fact that the choice “says something” about gender.  Embracing this allowed us a deeper exploration of the power plays and politics of that piece.  We’ve also made pieces with trans characters (Portmanteau), de-gendered characters (Some Other Mettle), and always always make pieces with strong, unusual female characters.  It’s worth mentioning, too, that our performers create the characters they play—so the women of Applied Mechanics, through engaging in our group authorship process, have a huge amount of agency in their theatrical and artistic output.

In all these ways, I’d say gender parity and women in theater are at the heart of our material.

A tiny post-script: I think there was a while in there where some of us in the group would worry about not having “enough male energy” in the company.  And then at a certain point we were like, “why are we worried about this?”  It’s amazing how pervasive the norms of the dominant culture can be.

2)   Does this inform your working and administrative structures in any way?

It does, actually.  We have worked really, really hard to cultivate an egalitarian working model that embraces all participants, distributes company labor, and values communication and consensus over hierarchy.  For me, this is a self-consciously anti-patriarchal model.   It looks at the ways most theaters run, the received narratives created in overwhelmingly large part by straight white men (and thus designed to reward male-socialized habits and aesthetics) and says: we reject that, and reject the goal of gaining access to it, and we claim the space to work in another way.  This is often difficult, and certainly does require a great deal of energy, presence, and mindfulness from all company members, but the result is that we have this thing, this company, that allows us a sense of shared ownership while granting us all agency and a supportive artistic home.

3)   Do you know your statistics (number of actors, directors, designers, etc) in terms of representation? Can you share them?

For several years, the company consisted of five women and two men.  It has now shifted to consist of six women and one man.

Of the 32 “outside” actors we’ve hired in our history, 21 have been women and 11 have been men.

Of the 4 guest designers we’ve hired (to work with company designer Maria Shaplin) three have been women and one has been a man.

Of the 5 stage management/production assistants we’ve hired, four have been women and one has been a man.

There are also an assorted bunch of folks we’ve hired for one-off work/labor calls; this is an estimate, but I think on those we’ve been about half and half women and men.

4)   What would you say to a female artist feeling discouraged about her place in the arts community?

It can take a while to find your people.  Don’t worry: you’ll find them.  All of my collaborators I met through working other gigs, going to see stuff, or coincidences born of just doing my thing.  It makes a huge difference to have people you love to work with.  It makes it easier to feel like, at least in some respects, you have your own place and your own community.

Keep your eyes open for folks you admire and are interested in working with or for.  It’s not that hard to track people down in this town, and it never hurts to ask for a coffee—or an assistantship.

And I know this will sound a bit “follow your bliss,” but—follow your bliss!  Don’t wait for permission to make the art you want to make.  Do what you think is cool.  Claim the space to do it.

Art life is a weird life without a clear path.  There is so much bushwhacking to do, and so much stumbling.   I think men and women tend to be socialized differently, and it can often be harder for women to access the kind of assertiveness and entitlement that’s so useful sometimes in getting gigs and attention and carving out a niche.  But I also absolutely think that self-doubt and failure and periods of frustration are natural parts of the artists’ life.  Finding a way to accept those stages of the cycle without being too self-punishing can make it way easier to fight the necessary battles—whether that’s about accessing particular kinds of assertiveness or asserting other ways of working.

5)   Anything else you’d like to add?

When Maria Shaplin and I started this company, it was because there was art that we wanted to exist that didn’t exist yet.  We realized we could make it exist by making it ourselves, and we realized no one was going to give us permission to do it.  So we had to just do it.  So we did it.  And we were incredibly fortunate (still are) to have access to a community of brilliant collaborative artists who were down to do it with us.  The company, which grew out of that initial project, consists of the people who stuck around and were excited about working on the artistic and organizational experiments that Applied Mechanics has come to pursue.  I don’t think that the experience of wanting to make art and having to give ourselves permission to do it happened because we’re women (it happened because we’re artists) but I think the lesson of claiming space and asserting new working models is vital to the feminist project.  I’m not saying it isn’t a worthy battle to fight for access to existing systems, but I also say it is a necessary battle to fight for new systems.  For me, this goes for both artistic concerns (structural, as well as aesthetic) and organizational models.

Thanks Becky!

You can check out Applied Mechanics bio below or their website for more info: http://www.appliedmechanics.us/

Applied Mechanics is director Rebecca Wright, designer Maria Shaplin, and performers Jessica Hurley, Thomas Choinacky, Kristen Bailey, and Mary Tuomanen, and stage manager Bayla Rubin.  This ensemble of artists collaborates to make work that challenges conventional ideas of theatrical space, narrative, and performer-audience relationship: they create visual landscapes for the audience to wander through, and multiple intersecting storylines for them to choose how to watch.  Their plays are immersive, multi-sensory, and choose-your-own adventure.  Their process is collaborative, democratic, and based on a commitment to organizational and artistic innovation.

Applied Mechanics’ pieces include the apartment plays Selkie and Ses Voyages Sauvages; It’s Hard Times at the Camera Blanca (Fringe 2009) which took over a Fishtown Bar; the invasion play Portmanteau (Fringe 2010) which, following its Philadelphia premiere, toured from Texas to Louisville to Maine; the dystopic environmental piece Overseers (Fringe 2011); and the large scale historical fantasia Vainglorious: Epic Feats of Notable Persons in Europe After the Revolution, which involved a cast of 26 Philadelphia actors and which  remounted to great critical acclaim in the Philadelphia International Festival of Art (PIFA) in April 2013.

Awesome Ladies meet tonight and tomorrow!

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Reminder! Reminder!  The Awesome Lady Squad is meeting March 23rd (tonight) and 24th!

That’s right Awesome Ladies! We’ll be meeting from 7 – 9:30 at Headlong Studios (formerly the Parlor) at 1170 S Broad on both the 23rd and 24th to come up with the AWESOME LADY MANIFESTO – our code of ethics for how the Squad will work.

  • If you’ve already let us know you’ll be there: GREAT! We can’t wait to see you!
  • If you know you’re coming and feel like dropping us a line: FAB! Email swimponypa@gmail.com to help us get a sense of the group size!
  • If you want to just drop in and bring a friend: DO IT! You can totally still come if you realize last minute that our meeting is exactly where you need to be.

Attend one or both. Our aim is to have a version of the manifesto to share with the world by the end of Monday night.

Hope to see you soon! (And as always, thanks for being awesome…)
Adrienne

Crowd source the grant of the future!

Hey friends!

First! I wanted to tell you that there’s big news coming your way from Swim Pony. This coming Monday we’ll be unveiling our next project: Cross Pollination. Cross Poll will be an awesome exploration of artistic mash ups. If you’ve ever wanted to see what happens when comic artist meets a dance company, this project will be right up your alley. So stay tuned for the info on all the details and the artist application to get involved.

And a huge thank you to the John S. and James L. Knight Foundation

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for supporting the Knight Arts Challenge Philadelphia. Trust me, you’ll be thanking them to when you see what we’re rolling out on Monday….

Second! I wanted to follow up and say that one of the most popular posts this month on the blog – the one in which I laid out a proposal for a results-oriented grant for gender parity – is gathering some steam. This is a project I am really hoping to make happen for realz in the relatively near future.

Most grants when being developed go through an extensive panel process. They have a lot of people reading and writing and then re-reading and re-writing the application guidelines. They examine the goals and expected outcomes. They look at the metrics that will be used to assess the project. And they think about who will enact these suggestions.

I want to create a grant that has just as much of a review process. And yet, I am just one human with my singular human brain. But what started happening informally after I posted about this the first time was that people started emailing me their suggestions. They asked questions about how things might work. They proposed ideas to make it stronger. And while I know that I wouldn’t implement all aspects of every suggestion, I also know that each one gave me a new perspective on how to think about shaping the thing. They were all super helpful in getting me to think like someone on a review panel.

It makes me wonder if this might be something worth asking for more of.

So here goes. I’ve re-listed the original guidelines proposed below and if you have thoughts about them, let me know!

What are the questions you’d have if you were to apply? Tell me the things that might seem difficult to interpret. Give me suggestions for things to expand that you’d want to know more about. Think about your work and how it might be assessed for this thing and let me know if you see a potential change to make it clearer or easier to take part in.

Think of this as your chance to crowd source the creation of a grant for the artistic world we want to see.

AWESOME LADIES GETTIN’ WHAT’S DUE (ALGWD for short)

Proposed guidelines:

1)   The ALGWD team announces to the Philadelphia-area theater community that starting next season any company, of any size, with access to their own non-profit status or a fiscal sponsor is eligible for an award at the end of a three year period.

2)   The funding awards will be made in two categories:

  • $25,000 will be awarded to 5 companies with the highest percentage of women artists represented across three artistic categories (see below).
  • Any company that achieves 45% female representation across all three categories is eligible to receive $10,000.
  • PS – You have to hit the minimum in all three. No exceptions.

3)   Female artists represented will be calculated based on a statistics over three categories:

  • Number of women playwrights
  • Number of women directors
  • Number of women actors

4)   Other rules and guidelines:

  • Companies will submit their statistics and then have them validated by the grant committee in order to be eligible.
  • The statistics must include all artistic output by a company.
  • Artistic outputs included must be open to the public.
  • A company must meet a minimum of three public works to be eligible for consideration.
  • Funds are string-free. You can use them for whatever you want.

5)   And maybe we could also add this as a bonus:

  • A $1,000 in additional funds are available for any company that can also show an equal parity across all categories of theatrical design regardless of whether they reach the above minimums.

Throw your comments in below. Or send them to swimponypa@gmail.com

You might just get what you asked for…

– A

PS – A big thanks to all those already super engaged in responses to the original post. I’ve definitely been keeping them in the mix!

Jealousy

Hey folks,

Since there are so many newbies to the Swim Pony blog joining us for our month of lady artist awesomeness, I figured I’d re-share a post from last year that garnered a lot of attention.

It’s not specifically related to being a female artists, but I’m sharing it because I think it’s going to be one of the major principles laid out in the Awesome Lady Squad’s manifesto (coming this weekend!). One of the ways I think we all get cheated out of the arts community we really want is by being sold on the idea that there isn’t enough to go around. And if there isn’t enough for all of us, we end up feeling like we have to fight each other to get any.

Let’s decide this isn’t the case.

Let’s assume there’s enough Awesome for everyone at the table.

Hope to see you next Sunday and Monday.

– A

mon Some people have all the luck

I will admit it. It’s really hard sometimes to be happy for your artistic peers. There are times when someone you know well gets a job, or some big funding, a fellowship and you just think to yourself, “Damnit. I am just as good as them. This is not fucking fair.”

There are times when I hear about people’s successes and my first instinct is to figure out how I could get a hold of the same opportunity. There are also times I despair at the seeming lack of luck, a random set of factors that make their stuff trendy and my stuff totally prohibited from some desirable professional stepping stone:  I don’t do straight plays, I don’t have an MFA, I’m not great with Shakespeare, I don’t act, I’m not part of an ensemble, whatever. It’s harder, not easier, the closer the people…

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