As image-makers we have a responsibility and we are accountable for the images we produce, at least that’s the world I want to live and produce in . Sophie Muller fails hard at responsible image making, integrity and art with Sade’s Solider of Love video.

***Sophie Muller***

***Sade Adu***

Let me be real, mostly I’m upset because this is SADE!!! Nothing more. Nothing less. The best. Sade. This is the sole reason for this plaintiff wail, “Whhhhhhhhhhhhhhhh?”

The song is beautiful, like ALL of her others. Sade’s voice, her artistry. The long-waited return of the songstress my mother introduced me to– it was 1984 and my single, Black mom made her debut in the kitchen, me waiting patiently at the table for something burnt, dry or cold while she belted out “your kisses ring/ round and round and round my head…” I’ll never forget the confusion in seeing my mom swoon at the stove like that. She was feelin’ it. Moved by the lyrics to skate across the kitchen floor in front of me- I didn’t know my mom had “those” feelings until those moments came to pass. Soldier of love takes us all back, if not there, then at the very least somewhere. That’s what we live for in Sade songs. That’s what I felt again the day the song hit the internet and rumors began to fly that a new album was coming. The confirmation of Feb 8, 2010 made 2009 not look that bad afterall, there was indeed something worthwhile coming. (A flair for the dramatic is appropriate when describing anything to do with the force that is Ms. Adu.)

I digress. Back to what offended me artistically and intellectually. Sophie Muller’s video…

Simply put, the video is a tragic attempt at manifesting powerful images to match the song’s simplicity or it’s simultaneous complexity. On a deeper level it is irresponsible and offensive.

Let’s start with the cheesiness and get the easy part out of the way: A stage, a screen, a budget and some bad dance moves does not a music video make. Add to it a white horse, lassos, silver Lamé! and smoke canisters and we are moving from cheesy to problematic faster than the Tiger Wood’s scandal become unbearable. Please tell me that all they had access to was a tired Hollywood back lot or sound stage and an even more tired, in fact retired, trunk of props and costumes and I’ll tell you that you are a liar. I’ll tell you that anyone in any of my video classes, from the 8 year olds to the 70 year olds, from the poets to the working class mothers and the working class mother poets, any or all of them with no budget, and almost anyone in the world would have made a better video for this song than what we have here:

Okay, so, should I choose to brush the silly images of horses and crashing waves under the rug, then what do I do with the truly problematic images that follow?

Do we (me, you and Sophie Muller) really need to play “Cowboys and Indians” in the video? Sure Sade proclaims “It’s the wild wild West” and we thank the heavens that she also decrees, “I’m doin’ my best.” The lassos and white horse were not anyone’s best (idea). Avatar was enough of the new fangled cowboys and Indians for me this year. Please someone at least try to give us something other than fictionalized fantasies of our oppressor or romanticized (brutal) reality of cowboys, soldiers, corporations and destruction. I do not want Sade to be cast in that role, it doesn’t change anything about it. Neither does the image of her as an imperialist forces leader.

I don’t want to imagine Smooth Operator Sade, as the leader of any Blackwater/Xe force, which her dancers simplistically call up with their stomping and (finger) gun pointing. Maybe I am giving her too much credit but Sade could move the world with a single whisper. …if she grabbed the mic and whispered “please world, recycle” you wouldn’t catch another bottle floating down a river nor a cellphone or battery in a landfill. Never. Ever again. Her force is not a violent one, but using the imagery of the violent forces of the world is a dangerous undertaking.

These seemingly benign and even mistaken for “appropriate,” if not obvious, images are based on the song’s title “_Soldier_ of Love.” In my mind soldiers of love are Mumia, George Jackson, Lil Bobby Hutton, Huey P. Newton, Assata Shakur, Sara Gomez, Audre Lorde, Poolan Devi, and so on and so forth.

A soldier of love is not a dancing gun pointing fool; I honestly don’t believe that is what Sade had in mind when she wrote and recorded this song. (Or at least I hope not.)

That’s not the end of the horror of this video either.

What we have next is heartbreaking to me.

The Violent/Dangerous Black man follows her. She subdues him. Only to then encounter another man, but this time a white, or fair skinned man who… wait for it…  unveils Sade and then becomes the love interest she falls, literally, for. God help me, I don’t know where to begin here. I can only ask why are we still having to watch these played out images? I am not going to be the brown warrior and unpack the nap sack of racism step by step here. Today I refuse. Maybe tomorrow. But please feel free to do your own research if you don’t get why this part is stomach-churning. Many, many brilliant people of all colors have written about this. It’s called racism, no, better yet let’s call it what it really is, it’s white supremacy. This is not about if Sade, or any other individual, has a white boyfriend or husband or lover. Remember this is a music video, not a autobiography and not in the context of race-relations debates.

This is another dangerous uncontextualized 4 minutes in pop culture that will creep past our eyes, replete with problematic imagery that never gets checked. And that is, partially, why I am angry about it.

“New “smart” phones have set the stage for the future of a mobile Internet. But companies like AT&T and Verizon are getting in the way by shackling open and innovative devices to closed networks. The FCC and Congress must step in to protect consumers and foster innovation. We demand:

1. The freedom to choose any phone on any network.
2. The freedom to choose among many carriers in a competitive, low-cost marketplace.
3. The freedom to access any Web content, applications or services we want through our phones.”
   

   [CLICK image to go to freepress.net's site to sign the petition.]

Tired of tech greed? And/or got tech needs?

While they can’t do anything more than Microsoft will let them, they really do have good things for full-fledged non-profits and a ton of great info for the rest of us- check out TechSoupGlobal.

I’ll post one of the videos I’ve been working on with them soon. Just wanted to give a virtual shout out for now.

By any means.

…it has been said that several barely-known to well-known films have been completed on borrowed time. Either the camera was purchased and returned quickly or the filmmaker maxed out credit cards and personal loans to “fund” the passion project du jour. These days everything from a funny moment to a genuine message can be broadcast from your palm or pocket as camera(phones) move closer and closer to becoming mobile broadcast pods replete with semi-pro lenses and editing software on board.

With debates still raging about digital divides and their bridges and band-aides, messages of hope (pro-social) rise above those of hate (anti-social) at least in terms of what gets reposted and rebroadcast widely while questions of power and possibility remain deeply burried in far left movements that still see no light, nor Youtube posting, nor Tweet.  We think it is time to revisit some of the tenants of Third Cinema/Tercer Cine.

How do we, in this moment, actively oppose a system and in fact use its tools to support others in turning their backs on colonizing forces? What do we ask of each other after changing our middle names to Hussein and/or our locations to Tehran because neither of those “actions” made nor made way for real change. Those actions did show us the power of social media.

Chimamanda Adichie TED talk

This is an amazing talk given by Chimamanda Adichie.

“Our lives, our cultures, are composed of many overlapping stories. Novelist Chimamanda Adichie tells the story of how she found her authentic cultural voice — and warns that if we hear only a single story about another person or country, we risk a critical misunderstanding.”

Please take 18 minutes, 49 seconds to view. Please  take a few minutes to read all the comments too many are worth the time.

Comment on the TED site and here, if you are so moved.

See: http://www.womenarts.org/fund/GeneralFilmVideo.htm

Note upcoming deadlines below [copied and pasted directly from WomenArts]:

Frameline Film and Video Completion Fund – Provides grants of $5,000-$7,500 to emerging and established lesbian, gay, bisexual and transgender filmmakers. Projects must be about LGBT people and their communities; any film or video format of any length and genre is eligible. Applicant must have creative and financial control of project; students may apply as long as they maintain control. Projects must have 90% of production finished and be in the post-production phase or ready to begin post as soon as funding is in place. See website for complete guidelines and application. Frameline Completion Fund, 145 Ninth St., Suite 300, San Francisco, CA 94103, T: (415) 703-8659, FAX: (415) 861-1404, info@frameline.org, http://www.frameline.org/filmmaker-support/completion-fund/funding-eligibility.aspx. Deadline: October 5, 2009

Film Independent’s Directors Lab (Winter, 2010, Los Angeles) – Intensive 8-week program designed to help directors preparing their feature narrative films (documentaries not eligible). The primary focus is on learning to work with actors and the rehearsal process. Fellows workshop scenes from their scripts and go through a mini-production, learning to collaborate with cinematographers. Participants are provided with camera and sound packages to shoot their scenes. In addition, fellows will be introduced to film professionals who can advise them on both the craft and business of filmmaking. Fellows also receive a one-year membership with Film Independent, a pass to the Directors Close-Up (runs concurrently with lab), a pass to the Los Angeles Film Festival, and year-round support from Film Independent. Submit online application, cover letter, one feature-length script, a logline and short synopsis, bios of key personnel, and DVD of director’s previous work. FEE: $55 (Film Independent members); $75 (non-members). Film Independent, 9911 West Pico Blvd., 11th Floor, Los Angeles, CA 90035, Contact: Jennifer Kushner, Filmmaker Labs Associate, T: (310) 432-1275, JKushner@filmindependent.org, http://filmindependent.org/talent_development/.  Deadline: October 5, 2009

**Lilla Jewel Fund for Women Artists** – McKenzie River Gathering Foundation, a social justice funder, seeks to commission three women artists to each create new art that represents Oregon’s social justice movement. The works, as well as previous pieces, will be exhibited at MRG’s annual event, Justice Within Reach, on April 10, 2010. Works must be visual; electronic media works eligible, but must not depend on sound to be understood; cannot be a filmed performance of another work. Each chosen artist will receive a commission of $2,500 plus up to $250 for materials. Applicants must identify as women; live in Oregon; create art that addresses progressive social, racial, economic and/or environmental justice issues; have experience working collaboratively. Women of color, LBTQ women, and women outside the Portland metro area encouraged to apply. Complete application (available on website) and send 5 work samples relevant to social justice. NOTE: E-mail submissions preferred. If you don’t have access, call the number below. Edith Casterline, Office Manager, McKenzie River Gathering Foundation, 2705 East Burnside #210, Portland, OR 97214, T: (503) 289-1517, FAX: (503) 232-1731, edith@mrgfoundation.org, http://mrgfoundation.org/html/whats_new/news_flash_detail.php?id=737. Receipt Deadline: October 12, 2009

Johnson & Johnson / Society for the Arts in Healthcare Partnership Grant Program – Seeking to promote the use of the arts to enhance the healthcare experience for patients, their families, and caregivers. Grants average a total of $75,000 over 3 years. Applicants must be nonprofit organization located in the U.S. or Canada (partners may be international) with current membership in the Society for the Arts in Healthcare. Application by invitation only; process begins with letter of inquiry. Society for the Arts in Healthcare, 2437 15th St., NW, Washington, DC 20009, T: (202) 299-9770, FAX: (202) 299-9887, www.thesah.org/about/send_email.cfm, www.thesah.org. Receipt Deadline: October 15, 2009, 5:00 p.m. ET (letter of inquiry)

The Northwest Film Center Scholarships – Direct tuition support for students of film to advance their stated goals as independent mediamakers.  Multiple applications allowed but must be submitted separately.  True North Scholarship – $250-500 for a beginning filmmaker.  Successful completion of one School of Film class or extended workshop required; current enrollment not required.  No media work samples required; applicants must clearly describe ideas for films.  Faerie Godmother Scholarships For Women – $500-1,000 for an intermediate to advanced female student pursuing a career in one or more primary creative role in film.  Successful completion of one or more core courses in the School of Film; current enrollment not required.  Must demonstrate quality work and reside in Oregon or SW Washington.  David King Scholarship – $1,000 for intermediate to advanced student who demonstrates commitment to goals and creative use of wit and wisdom in their work. Successful completion of two or more courses in the School of Film. Must be currently enrolled. Enrollment in Certificate Program not required, but qualified Certificate Students may receive priority.  Download detailed guideline and application forms at http://www.nwfilm.org/opportunities/scholarships.php Contact: Pam Minty, T: (503) 221-1156 x25, classes@nwfilm.org.  Deadline: October 15, 2009

Creative Alliance MovieMakers (CAmm) Fellowship – Promotes growth and expertise in filmmaking and time based media arts of all genres and supports the development of a finished, professional film, video and media arts projects for one artist living in Maryland. Fellows receive extended free use of CAmm Cage gear and CAmm Media Lab and editing suite, as well as a work-in-progress critique with established members of the film community and a screening opportunity at The Paterson. Works in progress encouraged. Submit project description, including treatment, length of proposed work, budget and production timeline, list of gear and/or facilities you would like to access from CAmm (complete list available on website), reel of previous work and/or excerpts from proposed work in progress (not to exceed 30 minutes total; DVD or Quicktime files preferred), written description of previous work (including title, date, media, and running time), resume with full contact information, and three personal references (including relation to you and phone number). Kristen Anchor, Director, Creative Alliance MovieMakers (CAmm), Creative Alliance at the Patterson, 3134 Eastern Ave., Baltimore, MD 21224, T: (410) 276-1651, Kristen@creativealliance.org, www.creativealliance.org. Deadline: October 16, 2009

Bush Foundation Enduring Vision Artist Fellowship Program – Supports artists in Minnesota, North Dakota, and South Dakota with unrestricted grants of $48,000 distributed over one or two years. In addition, fellows receive up to $2,000 each to plan and implement an individual communications strategy. Artists may use their fellowship to explore new directions, continue work already in progress, or accomplish work not financially feasible otherwise. Professional development activities, including a two-day orientation retreat along with annual workshops combined with informal artist gatherings, have been added to the program. Applicants must be residents of Minnesota, North Dakota, or South Dakota (and have lived there for at least 24 months prior to application deadline), U.S. citizens or permanent residents, and at least 25 years old at the application deadline. Students are not eligible. For the 2010 fellowship year, applications are being accepted in the categories of Visual Arts (Deadline: October 30, 2009) and Media Arts and Traditional and Functional Craft Arts (Deadline: November 6, 2009). See website for complete guidelines and application. Bush Foundation, 332 Minnesota St., Suite E-900, St. Paul, MN 55101, T: (651) 227-0891, FAX: (651) 297-6485, info@bushfoundation.org, http://www.bushfellows.org/artist/bush-artist-fellowships. Deadline: October 30, 2009 (visual arts), November 6, 2009 (media arts and traditional and functional craft arts)

NYFA Artists’ Fellowships – The New York Foundation for the Arts (NYFA) Fellowship program makes $7,000 cash awards to individual artists who have been living and working in the state of New York for at least 2 years. For 2009-2010, NYFA is accepting applications in select disciplines including playwriting, screenwriting, fiction, photography, painting, music, sound, architecture, choreography, and video. Artist must be 18+ years old; matriculated students ineligible. Preferred online application available on the NYFA website. Artists’ Fellowships, New York Foundation for the Arts, 155 Avenue of the Americas, 14th Floor, New York, NY 10013-1507, T: (212) 366-6900, ext. 217, FAX: (212) 366-1778, nyfaaft@nyfa.org, www.nyfa.org. Deadline: November 2, 2009 (playwriting, screenwriting, fiction, photography), November 3, 2009 (painting, music, sound), or November 4, 2009 (architecture, choreography, video), 2009

Indian Film Festival of Los Angeles Film Fund – Seeks to help emerging filmmakers realize their feature-length narrative and non-narrative film projects that reflect universal themes inherent within Indian culture. The first grant awarded by the fund will be the Development Grant of up to $10,000. Selected projects may be submitted to producers, distributors and sales agents. Based on the writer’s country of residence and availability, the grant recipient will have the opportunity to hold a staged reading of their screenplay during the Indian Film Festival of Los Angeles. Open to writers of Indian descent as well as to projects that have Indian content by non-Indian writers. Writers should not have more than one produced feature film among their writing credits. Submitted projects should have a director and/or producer attached to project. Open to narrative features only. Writers may submit in 2 categories: Screenplay (between 80-130 pages; written in or translated into English) or Treatment (5-10 page written treatment for a full-length screenplay; treatment should be accompanied by first 10 pages of script). FEE: $45-$50. Indian Film Festival of Los Angeles Film Fund, 5657 Wilshire Blvd, #130, Los Angeles, CA 90036, T: (310) 364-4403, FAX: (323) 571-8746, mkuckreja@indianfilmfestival.org, http://www.indianfilmfestival.org. Deadline: November 2, 2009

from:

WomenArts
3739 Balboa Street #181
San Francisco, CA 94121
Phone: (415) 751-2202
Website:  www.womenarts.org
Email:  info@womenarts.org

1,649,564 views on Youtube.

Websites.

T-shirts.

Window decals.

Whoa.

[click on the image to go directly to "Baby Cory's site."]

The Evolution of Social Media –
I came across this slideshow/powerpoint thingy. Interesting, no?

I am less inclined to care about the branding, but I did notice the lack of lots of resources a la gatekeeping brands/logos- where is mention of Blogger, WordPress, LiveJournal and Moveable Type? What about Vimeo and/or other alternatives to Youtube? One commentor mentioned the lack of reference to Compuserve. …this leads me to believe that it is time to reach way back, past the logos and the brand names to the concepts of publishing/broadcast and social change. I’m not talking “memes,” I’m talking underground newspapers, micro broadcast radio, impromptu demonstrations that preceded Flash Mobs.

Anyone down to jump in the wayback machine with me to do some research on how OUR communities where social media innovators before there was “social media?”

Deadline: November 13, 2009 (Intent to Apply)

The Surdna Foundation has announced the tenth year of a national initiative to support the artistic revitalization of outstanding arts teachers in public arts high schools.

Through the Surdna Arts Teachers Fellowship Program, fellows will design individualized courses of study that provide both immersion in their own creative work and the opportunity to interact with other professional artists in their fields.

Teachers will be expected to design a fellowship program that provides opportunities to interact with professional artists and enhances their understanding of current techniques, activity, and thinking in their artistic domain(s). A fellowship program may include study in arts courses; attendance at advanced art-making workshops, festivals, or institutes; residencies at artists’ colonies; formal mentor relationships with recognized professional artists; independent study towards the completion of an artistic project (which includes interaction with other professionals), or other artistic pursuits.

All permanently assigned full- and part-time arts faculty in public arts high schools may apply. Eligible schools include specialized public arts high schools and arts-focused magnet and charter high schools. Teachers of all arts disciplines are eligible — visual arts, photography, theater, music, dance, film, video, multidiscipline, and creative writing. Applicants must be minimally in their fifth year of teaching arts in high school, and plan to continue as an arts teacher in their specialized public arts high school in 2010-11.

Twenty awards of up to $5,500 each, with a complementary grant of $1,500 to the fellow’s school to support post-fellowship activities, will be made.

Visit the Surdna Web site for complete fellowship program information.

Contact:
Link to Complete RFP

Primary Subject: Arts and Culture
Secondary Subject(s): Education
Geographic Funding Area: National

reposted from : http://foundationcenter.org/pnd/rfp/rfp_item.jhtml?id=266700051

So, the office warming party was great fun. We watched videos and made this one. See, “documentation” can be good and fun!

Oh, and guess what, we might get to do it again soon! The office has moved once again, this time to a cozy space near downtown/Lake Merritt. If you are in the area and want to stop by feel free to call and give us a heads up. If you want to donate some art to spruce up these bare walls, send your work our way, we’d certainly appreciate it.

Thanks to all the hommies who made it to the Office Warming Party, Part 1.