Untitled
You appear in my dreams uninvitedFrom out of the Blue, uninvitedYou walk into my thoughts at your willAnd all the while your faceFades from me daily.Old friend.My best friend.There is nothing ahead for us now.Our best yearsOur worst yearsAre behind usExcept fading memories of your face.All those regret.All those failures.I hope you have someone
Richard Oakes and the takeover of Alcatraz Island
Dying young leaves the deceased forever entombed in what they were and not what they might have become. Had Richard Oakes not died at age 30 on September 20, 1972, there is no telling the heights he might have reached.
Oakes was a Mohawk Native American who was born May 22, 1942, in St. Regis Mohawk Reservation near the banks of the St. Lawrence River. He went to work on the seaway at age 15 and learned the trade of a high steelworker (welding metal frame to skyscrapers thousands of feet high)
While working in San Francisco he enrolled at San Francisco State University and worked with anthropology professor Bea Medicine, to create one of the first Native American Studies departments in the nation.
Aokes was determined to search out his people's past in hopes it will bring them a brighter future. He and his family visited Indian reservations across the US and Canada. At the same time, he became active in the Mohawk National Council, organizing peaceful protest, which they called White Roots of Peace. In the spring of 1969, Oakes met the members of the White Roots of Peace.
In 1969, Oakes led a group of 80 students from the UCLA American Indian Studies Center and urban Bay Area Native Americans in an occupation of (Then deserted ) Alcatraz Island in a protest occupation that lasted until 1971. Oakes was the first of five young Indians to .dive from a boat and swim 200 yards through the cold water of San Francisco Bay to land and claim Alcatraz for the American Indians.
Oakes proclaimed the purpose of taking the island "To better the lives of all Indian people" by making "known to the world that we have a right to use our land for our own benefit" through reclaiming Alcatraz "in the name of all American Indians by right of discovery."
It was a high ideal, but within a year, the island was a disorganized mess. An aide to Oakes said "Oakes wasn't a drinker. He was an intellectual, he didn't need that kind of stimulation. He was resented by a lot of the people. Indians don't like one of us who is too smart, too w h i t e -m a n, and some resented Oakes even if he was bitter on white men and could be awful hard on them, talking with them.
Then in July of 1970 Oakes' 12-year-old adopted daughter, Yvonne Rose, fell to her death from concrete steps of the old cell block building. Oakes wondered if her death, the result of severe brain trauma, was a homicide. After that, January of 1970, Oakes and his family left he island.
Later he said "It (The takeover) started the ball rolling for our cause there were mistakes, but we won't make them again. Since Alcatraz there have been other Indian invasions, but none has whipped up as much public interest. We started a fight to retain our culture and get back what rightfully belongs to us, and the battle will not end until we have reached everyone our goals."
"With the older Indian rapidly vanishing," Oakes said, "unless we take action right away, the real Indian culture will be lost forever." He also advocated ending the military draft of Indians from the reservation because it drained “the able-bodied men from the reservation and leaves only the very young and the very old, who are not able to further the Indian cause there.” He also planned to create a traveling medical clinic. “This traveling clinic will take in all the low economic areas, even those that have no Indians."
In 1970, Oakes and 25 others were arrested after they chopped down a tree, blocking a road near Stewart's Point, roughly 100 miles north of ' San Francisco, and collected $1 in tolls from several motorists. Oakes said he intended to buy back the road with the money.
After that, he was injured in a San Francisco poolhall, beaten with a pool cue in a Mission District bar on July 11, 1970 where he once worked as a bartender. A year before, Oakes had slugged a Samoan, Tommy Pritchard, then 27. A year later Oakes and Pritchard ran across each other again in the same bar and Pritchard whacked Oakes on the chin with the pool cue, beat him to the floor and then struck him repeatedly with the stick on the right temple. A four operation helped, but the damage was severe and the articulate, handsome young man with a dream started to shatter after he had a metal plate placed in his head as a result of the beating.
He said, "I have severe headaches that bother me to the point that I have a hard time controlling my temper when I think about the injustices that have been placed upon my people. Anyway, I'm lucky to be alive. I don't talk as fast as I did before my injuries, my left side is still stiff, and my hair, which was completely shaven off when I was hospitalized, is still short, but growing back at a healthy rate. With continued therapy and other visits to the Indian medicine men in various parts of the country, I hope to be as fit as I was before I was severely injured."
Oakes was a controversial figure in the main steam and within the Indian American community. He suggested that all of us white people go back to where we came. He could be belligerent in his public dealing.
Oakes continued his organizing efforts to form a strong and united American Indian nation, however in September of 1972, he fell into an argument with a YMCA camp manager in Sonoma, California named Michael Morgan. The camp edged Oakes property on the Kashia Reservation.
At about 4:45 p.m. Morgan, who had been at the camp corrals working with the horses, was walking home when, according to Morgan and later conformed by police, Oakes jumped out from behind a tree and started to question Morgan about an Indian juvenile who had been arrested at the YMCA camp on September 18 for attempted horse theft. It was the second run in between Morgan and Oakes.
On September 14, Oakes and the accused 16 year old horse thief, were hunting on YMCA property. When Morgan confronted them, Oakes argued that the land belonged to the Indian people and pulled a knife. Morgan fired a warning shot in the air and Oakes and the boy left. In the September 18 incident, the argument escalated, and Morgan shot and killed Oakes. He was later acquitted on the ground of self-defense.
This is an incredibly well written and sad passage, isn't it?
“He wanted to recover something, some idea of
himself perhaps, that had gone into loving Daisy. His life had been confused
and disordered since then, but if he could once return to a certain starting
place and go over it all slowly, he could find out what that thing was.” F. Scott Fitzgerald, The Great Gatsby
The most painful thing
“The most painful thing
is losing yourself in the process of loving someone too much, and forgetting
that you are special too”— Ernest Hemingway
Please support The Boston Ballet
We are proud and excited to announce Boston Ballet’s reimagined 2020–2021 season of inspiring dance, featuring emerging and diverse choreographic voices. Your enthusiasm and encouragement have made our return to art-making possible—we are immeasurably grateful for the outpouring of support we have received from our devoted Boston Ballet family.
Our season ahead showcases the creativity and innovation that defines Boston Ballet, pushes the boundaries of our artform, and continues to bring ballet to you, our loyal fans, despite the current constraints.
We begin with BB@yourhome, a virtual series premiering six programs from November 2020–April 2021. These intimate evenings of fresh creations, Boston Ballet signature works, and classical ballet gems will be captured live in-studio and streamed directly to you. You can enjoy a night at the ballet virtually, no matter where you are.
This holiday season, Boston Ballet partners with NBC Boston to bring The Nutcracker to homes across New England—the first time our Nutcracker has ever appeared on television. We’re delighted to keep the magic of this beloved tradition alive and share the joy of the season with a broader audience than ever before. The program, created with previously captured performance footage, will premiere on NBC Boston on Saturday, November 28 at 7pm with encore airings and on-demand viewing opportunities on NECN and Spanish-language Telemundo, plus free access at bostonballet.org for a limited time.
Finally, Boston Ballet plans a return to the stage in May 2021 with live, in-person performances of off the chART (May 6–16) and the female-led ChoreograpHER (May 20–30). These two programs celebrate unique voices from across the art world with a Company premiere from William Forsythe and six world premieres from Stephen Galloway, Tiler Peck, Claudia Schreier, visual artist Shantell Martin, Boston Ballet Principal Dancer Lia Cirio, and Melissa Toogood. These programs have been optimized for the health of patrons and performers, and will be performed in accordance with appropriate state and CDC guidelines.
To join us this season, please subscribe to the BB@yourhome virtual series, or fuel our artists and art-making with a tax-deductible donation. Current 2020–2021 subscribers already have access to the entire season and will receive more information shortly from Lisa McCullough, Director of Audience Services.
We remain committed to supporting our dancers’ professional well-being and growth, with vital safety measures in place. The dancers return to the studio on September 21 and will follow carefully designed health and safety protocols to rehearse the art we plan to share with you this season. We are ready to return to art-making for you.
On behalf of all of us at Boston Ballet, we extend our profound thanks for your eternal support and belief in the necessity of live art. We can’t wait to share this year with you and to be transported together by the power of dance!
It takes a while to find the meaning of what Baldwin said but its pure truth
“The artistic image is not intended to represent the thing itself, but, rather, the reality of the force the thing contains.”
- James Baldwin, Nobody Knows My Name
The greener grass
"What if the grass is greener on the other side because
it’s always raining there. Where the ones who never fail to give, hardly have
enough to spare.
Where the people with the broadest smiles, have a pillow filled with tears.
And the bravest ones you’ll ever know are crippled by their fears.
It’s filled with lonely people, but their never seen alone.
Where those who lack real shelter, make you feel the most at home.
Maybe their grass is greener, because they’ve painted on its hue.
Just remember from the other side, your grass looks greener too."
Where the people with the broadest smiles, have a pillow filled with tears.
And the bravest ones you’ll ever know are crippled by their fears.
It’s filled with lonely people, but their never seen alone.
Where those who lack real shelter, make you feel the most at home.
Maybe their grass is greener, because they’ve painted on its hue.
Just remember from the other side, your grass looks greener too."
–
Earnest Hemingway
Encumber
In Old French, the noun combre meant a defensive
obstacle formed by felled trees with sharpened branches facing the enemy.
Later, in Middle French, combre referred to a barrier, similar to a dam or
weir, constructed in the bed of a river to hold back fish or protect the banks.
That notion of holding back is what informs our verb encumber. One can be
physically encumbered (as by a heavy load or severe weather) or figuratively
(as by bureaucratic restrictions). Combre also gives us the adjectives
cumbersome and cumbrous, both meaning "awkward or difficult to
handle."
Playwrights opportunities
NYCPlaywrights
Sat 9/12/2020 5:02 PM
•
NYCPlaywrights
Greetings NYCPlaywrights
*** FREE THEATER ONLINE ***
THIS IS A MAN'S WORLD
Written & Performed by Sal Lopez
Directed by Jose Luis Valenzuela
In this candid and intimate performance, music and memory
swirl as Lopez relives the lessons that shaped his life, from the scent of a
piroul tree in Mexico to the thrill of young love to the effects of the Watts
Riots and the birth of his son.
September 8 - September 17, 2020
https://www.thelatc.org/live
***
THE ORLANDO PROJECT
Five theatre students in a rehearsal process were
stranded, their work on the play Orlando (by Sarah Ruhl) at a standstill.
Filming from across the United States, they instead created this soulful short
film. Original music, freewheeling footage, and material from Virginia Woolf’s
masterpiece blend in a narrative at once humorous and heartfelt, melancholic
and philosophical.
The 28-minute film is available on YouTube throughout the
Philadelphia Fringe Festival and beyond.
https://fringearts.com/event/the-orlando-project/
*** NYC WRITE NOW! ***
What: An informal silent writing group for playwrights in
NYC's five boroughs: The Bronx, Manhattan, Brooklyn, Queens and Staten Island.
When: Wednesdays from 7pm until 9pm EST, and Fridays from
9am until 11am EST. You may use this Eventbrite registration form to register
independently for one or multiple sessions.
Where: Zoom. A link and passcode to join will be sent to
you automatically two hours prior to the start time. If you have trouble,
please use the contact form below to be in touch with the NYC Dramatists Guild
Rep/Ambassador team.
Event Dates:
Sep 16 at 7:00pm
Sep 18 at 9:00am
Sep 23 at 7:00pm
Sep 25 at 9:00am
Sep 30 at 7:00pm
NYC Write Now! is a recurring silent writing meet-up
group for NYC based dramatists; it meets twice weekly, on Wednesday evenings
and Friday mornings. You have the option of attending once or twice a week,
during the day, in the evening, or both! All you have to do is turn your camera
on, and mute your sound. At the start of each meeting, we’ll begin with a quick
welcome and then continue on to our two hours of uninterrupted writing time.
Think of it as a group of accountability buddies.
You are free to come to either- or both- weekly time
slots, but we do need you to register in advance, so that we know how many
people to expect, and so that we can send you the Zoom link. We look forward to
seeing you in the Zoom where it happens!
REGISTER:
https://www.eventbrite.com/e/nyc-online-write-now-tickets-120405320555
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
Cape Cod Theatre Project 2021
Playwrights may send one play per season for
consideration. The proposed play must still be in development and cannot have
received a professional production, or a production that has been reviewed,
prior to August 2020.
***
Downtown Urban Arts Festival will accept 16 theatrical
works (plays, musicals and solo works) that reflect urban life and with running
times up to 70 minutes. Each work is performed only once during the festival.
There will be a $1,000 award in the categories of Best
Play, Best Short and Audience. There is no submission fee and each playwright
will receive a $500 monetary stipend as well as other supportive services to
assist in developing the play for the stage.
***
PROLOGUE THEATRE’S MISSION: “Prologue Theatre understands
that it can be difficult, at times, to begin conversations about “certain
topics” and focuses on presenting theatre that can serve as that starting
point. Through theatrical performance, coupled with community discussion, we
strive to challenge our community to examine and discuss their views of the
world and those around them. Our focus is on those who are in the process of
finding their own voice - whether 15 or 115 years old – and are looking for a
place where they can hone those viewpoints by examining world issues within
(and with) their community.”
*** FOR MORE INFORMATION about these and other
opportunities see the web site at https://www.nycplaywrights.org ***
*** FREE ONLINE THEATER COURSES ***
THE 101: Introduction to Theatre and Drama Arts
Theatre 101 aims to answer several questions, the most
important of which is, "what is the nature of the theatre
experience?" Why do people do theatre? What do they hope to accomplish?
What is the relationship between the performers and the audience? How has the
relationship between theatre and society developed throughout history from the
early theatres of democratic Athens to the contemporary mega-musical?
https://www.youtube.com/playlist?list=PLdLiRaajwSXTBmnGHra9kCNm3z_74Khv0
***
Not Shakespeare: Elizabethan and Jacobean Popular Theatre
This series of six lectures introduces six plays from the
Elizabethan and Jacobean theatre. Once popular and now little-known, they can
tell us a lot about what their first audiences enjoyed, aspired to and worried
about - from immigrants in early modern London to the role of women in the
household, from what religious changes might mean for attitudes to the dead to
fantasies of easy money and social elevation.
http://podcasts.ox.ac.uk/series/not-shakespeare-elizabethan-and-jacobean-popular-theatre
***
Approaching Shakespeare
Each lecture in this series focuses on a single play by
Shakespeare, and employs a range of different approaches to try to understand a
central critical question about it. Rather than providing overarching readings
or interpretations, the series aims to show the variety of different ways we
might understand Shakespeare, the kinds of evidence that might be used to
strengthen our critical analysis, and, above all, the enjoyable and unavoidable
fact that Shakespeare's plays tend to generate our questions rather than answer
them.
http://podcasts.ox.ac.uk/series/approaching-shakespeare
***
The Philosophy of Tragedy: A Free Course on the
Philosophy of Great Greek Tragedies
Greek tragedy has been performed, read, imitated and
interpreted for twenty-five hundred years. From the very beginning it was
thought to be philosophically significant—somehow pointing to the truth of
human life as a whole (the phrase the "tragedy of life" first appears
in Plato). As a literary form it is thought especially revealing
philosophically by Aristotle, Hegel, Nietzsche and Heidegger to name only a few.
http://www.openculture.com/the-philosophy-of-tragedy-a-free-course-on-the-philosophy-of-great-greek-tragedies
***
Harvard University
Shakespeare's Life and Work
Learn how to read William Shakespeare's plays through his
biography, Elizabethan and Jacobean history, and modern performance.
https://www.edx.org/course/shakespeares-life-and-work
***
Playwriting
by National Theatre
This course material is only available in the iTunes U
app on iPhone or iPad.
For anyone with an interest in creative writing, this course
will guide you through the processes required to write a play. Leading
playwrights explain some of the key elements of a well-written play, and
discuss how they approach them in their own work. David Hare, Katori Hall, Matt
Charman, Nell Leyshon, James Graham, Nick Dear, John Hodge, Alia Bano, Richard
Bean, Anders Lustgarten and Roy Williams talk about writing dialogue, creating
characters and structuring a narrative. These videos in combination with a
series of writing exercises and introductions to writing techniques provide a
solid foundation upon which to write your first play. This course is provided
by National Theatre Learning 2012 and is updated regularly with new content on
playwriting.
https://itunes.apple.com/us/course/playwriting/id555641659
***
Playwriting I
This class introduces the craft of writing for the
theater. Through weekly assignments, in class writing exercises, and work on a
sustained piece, students explore scene structure, action, events, voice, and
dialogue. We examine produced playscripts and discuss student work. This
class's emphasis is on process, risk-taking, and finding one's own voice and
vision.
MIT Open Courseware
https://ocw.mit.edu/courses/music-and-theater-arts/21m-604-playwriting-i-spring-2005/index.htm#
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