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Messages - karen_g

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166
Agreed.  Part of being in the slam scene is also knowing not only when the points aren't even the point, but poetry itself is far from the point.I believe she hasn't responded because she has  much bigger stuff going on in her life right now. Communicating is also about timing, unfortunately.He's not getting a response, in part, because she's not around.

167
General Discussion / Re: Where the poets at?
« on: October 15, 2007, 02:41:37 PM »
You know I want to be set up.

168
For next autumn, just talk to Bryan, me, Kodac & we'll work you in and go from there.I'll throw more contacts at you after the year rolls over.

169
It's about direct communication.

Uh-huh.In which case, it's sort of mud in the eye of both parties, for not communicating directly with each other somehow.And for folks like me who might be doing more to stir the pot than to mediate.

Sure, I don't want one of my mentors to be called a racist, (and her team and scene being diverse doesn't meant there's not classism, racism or sexism or whatever other -ist there, I realized after coffee how that might have been read that way from posting the quote). I think that's almost ridiculous from the work she's done over the years, though it doesn't mean something slippery won't come out. It wouldn't be the first revelation to me that a family member has issues, right?Yet I'm also trying to look beyond that.

Not to brush off racism, or future -isms and phobias which will invariably come up between organizers, poets, audiences, volunteers, etc.I think that's the larger thing for me, respecting and loving all parties involved---how do we talk about the hard stuff without goring each other as culture wants us to do? Since we're verbally adept, how can we go beyond how we're used to communicating at a binary, base level? How can we imagine this scenerio going differently the next time something like this comes up?How can we call each other out respectfully and constructively, hurt feelings and all?

170
http://www.myspace.com/gypseyo

Context.To quote:

"Kim’s words may not be stones thrown your way, but ripples of stones you have thrown in the past.
People may not know that in a bout you had with the Greenville team at Nationals, for a few measly points, you got up and performed the poem which contains the now famous verse “my oppressed mother in Greenville, SC”. You tried to create in the
minds of the judges a stereotype of racism related to their location, and worse, associating your poet brothers and sisters who are at the forefront of the war against stereotypes and racism, with that very image. While this may not be against rules, it is certainly bad sportsmanship, especially considering that the Greenville team is multi-ethnic, multi- race and gender, and includes people who have really experienced racism and discrimination in their lifetime.
So then, after taking the weight of your words lightly and offending them, you write to their venue and say: “I insinuated that you guys were racist to win my bout at Nationals, but can I come over to your house and play?”
...
For the record, I have had the honor of performing more then once in Greenville, and am happy to say that more than half of the audience has been multi- ethnic. Their most beloved poet is an emigrant, and this venue has hosted the first all female regional slam in which half the women have been African-American, then the other half are split between emigrants and lesbians."


Somehow, I had a feeling there was more context behind Kim's remark.I still think it was unwise of her to make that remark, especially on the face of it, it's racist.However, with the scenerio above, I can understand it as coming from a place of defensiveness.It's too easy to lob racism at those of us down here in the SE without self-examination. Lobbing that stereotype in a National arena when you're in a bout with a team of diverse mixture as Moody & Kim's was---cheap shot, point grab in a bout, I can see her unwise comment slipping out.

To further that defensivness, Kim's done a largely thankless job working to put the SE on the slam map, both with her venue, grant writing, and then by producing national events.She's the one responsible for creating both the first  IWPS (the first place I ever heard luminaries such as Buddy, Mike, RAC & Alvin) and she was a backbone of the second, she'll be involved in the future WOW slam, SE regional women's slam, her presence on the EC, etc. So I can see where she might get defensive about a poet throwing mud on Greenville at a national level and then wanting to come there to take advantage of its venue.

Why her silence on this issue so far? Simple: she just worked to get Solomon Sparrow in her venue and then is out of pocket with bigger fish to fry this October: her wedding.

I think there's also a difference between making a comment with racism in it and then actually BEING an active racist.There's a whole semantic and sociological conversation we can have about that, since we're part of a culture that creates us as homophobic,sexist, classist,racist,ableist,-ists--and we're even doomed to internalize all that material if we belong to one, more or all of those groups.Should we be called out when these comments slip our lips? Should I be called homo-or-transphobic if I make an off-comment even though I'm a self identified queer? You bet.And please, if I say something racist, classist, sexist, etc. I want to know what it is, how it is taken.But aren't we just repeating the ills of the system we're under if we not only call out the error, but then try to take someone down and smear them in the carpet about it? Isn't public humiliation and raking someone over the coals less about dialogue for change and more in line with the system of bainaries and us v.them that keeps us all down?

Personally, Kim is the one who recruited me into slam by giving me opportunities to volunteer, nudging me to be a slam ma'am.If I had an issue with her and even if I lost her number to talk to her personally about something, I think within this network, I'd be able to find it.I respect the amount of work and lack of sleep I've seen from her.Yet, because she's part of the slam family, even if she were anyone else, and especially if I were in her shoes, I would hope to be called out, yes. Pilloried, no.We all deserve better than that as well as room for benefit of the doubt.Also knowing that, I'd realize that at some point our paths would cross in person and hope to resolve the issue---whether my feelings were the ones being hurt or whether I was being called out---I would hope for the patience for that moment to arrive rather than present some sort of campaign. Call my pollyanna mediator a-hole, I don't mind, I think we're all worthy of that in this family.



 

171
Hells yeah~if I can---what are your dates? Where does the SE fit into your calendar?

172
Trench boy, please come to Atlanta in fall of '08.We're not TOOOO far from FLA.
~karen g aka nerak_g, you know where to find me

173
Slam Selection Processes / Art Amok! Atlanta Slam
« on: August 24, 2007, 01:58:41 PM »
Art Amok! Atlanta Slam
We hold our slams once  twice a month, on Saturday,
typically the 3rd or 4th,
7.30pm sign-up,open to all, first come, first served to 12, slam to follow.
We have Poetic Soul open mic, a feature, and then the slam.
It all happens at
   
Mocha Match
www.mochamatch.net

627 E College Ave # F
Decatur, GA 30030
(404) 377-7788
Get directions
and :http://www.myspace.com/artamokslamteam
Sometimes as part of our series,
shows start earlier and include musicians, prompts, thematic open mics
and features, but the slam is always open to all subjects and closes out the night.
We use PSI rules & spiels for our slams, with a season running from
August.-March.
We don't use a points system, rather a rule of threes.
A poet qualifies for Finals by winning a slam and participating in two other Art Amok events.
Winners can do this by filling a feature slot at Art Amok,
participating in Win & Urin or an out-of town event, curating a show or hosting one.
Non-winners can qualify similarly by participating in three Art Amok slams and coming in the top five of a slam
three times.
Previous slam winners can slam as many times as they want, just not the same night as their feature, so the point is to slam often.
We don't penalize poets for arriving to the season too late to participate three times or more.For them, we hold a Last Chance, Sacrificial Lamb Slam.We take the top 1-3, depending on how many slots we have open, so long as the field isn't more than 10-12.
From Finals, we take the top 5 poets as the team.
At the first rehearsal, they're given a contract and the spiel of what is expected of them with availability, rehearsals, fundraising and participation in group work as a contributing, communicative poet.
We've had drop offs when the rehearsal realities kick in (not in '08, luckily).
Then we go down to the next poet in line on the Finals list of scores and see what his/her availability is. In 07 year we had two drop offs, but as a slamming poet slam master, I was positioned next in line.If there's a point when the list stops or availability goes lower than 4, depending on the time left in the season, we would probably withdraw or hold a slam off.
Using these scenerios, we've had a list of no more than twelve poets.
We hold a designated IWPS & WOWPS slam off which is open to all Atlanta area poets deemed as regulars at any venue in the scene---so far the ones who have asked for it and participate in it have been on teams.Should this not happen, we would invite team-ranked poets and then open up remaining slots to area poets.
We hold it as 1-minute, 2-minute-4-minute rounds, to fit the criteria outside of the usual 3-minute rule.
For WOWPS, have a slam off open to all after the slots for the highest ranked female poets are filled, those being city slam champions or champions on the national scene.
We're including criteria defining female as "once, presently, or future-tensed, socialized or personally identifying as a woman," to include any from our trans-poet population. We don't want to check under skirts and pants but we do want to acknowledge the definition of female or woman as varied in our community.

Things are also subject to change with venue or increase or decreases in the number of slams.
Backchannel me if you've any questions or concerns.
~Karen G.

174
General Discussion / Re: Where are the NPS 07 pics?
« on: August 22, 2007, 04:01:55 PM »
Here are ones I took, but it's mostly me with a lot of different people



-Jesster

AND the propane gas sign----a riot !
 :D

175
General Discussion / Re: Where are the NPS 07 pics?
« on: August 21, 2007, 10:30:56 PM »
Uh-oh, we might be in trouble if Copa's askin' for the pics----your camera make it back alright?

(I loves ya. My pics aren't developed yet)

176
General Discussion / Re: How and what did you pay for at NPS?
« on: August 15, 2007, 09:19:41 AM »
 Art Amok! Atlanta
~passed the hat everywhere we went, featured at local venues.
~a burlesque performer shared the spoils of her 30th birthday party and show, which covered all our entrance fees and memberships to PSI and DIPS.
~we performed on a porch, dinner theater style
~we begged our friends and friends of friends
~we made zines & chapbooks, sold a few at a sweaty punk show
and we went out of pocket.This year was better than last in terms of not going out of pocket, the hotel was mostly covered along with much of our transportation (Stef & T did a great job of covering themselves) but still....
There are still a few things we haven't tried yet that I'd like to and I at least have a 501c3 workshop under my hat, it just came too late for this season.

177
General Discussion / Re: Open Letter to the Rookie at NPS
« on: August 03, 2007, 10:46:58 AM »
This is wonderful, Scott.
Reading it, I realize I'm still a rookie at heart, so much to learn, always.
Forwarding it to the triple A.

178
General Discussion / Re: Southern Fried Results?
« on: June 11, 2007, 03:04:02 PM »
I think it shook out as Respect the Mic, Charlotte (Fillmore, Maze wootwootwoot)
Slam Charlotte (Tavis...courage...I feel like he's tried to do that piece for a long time, maybe he even has, but it was intense right there)
Duval's Finest (Lizz Straight & Asia--I realized somewhere in the middle that I'd heard Asia's piece at Nats on the Finals stage--duh, slow on that)
BOB Rhyme Tampa (Ali Langston, the Indie's champ. He & a couple of others from that team were so gentlemanly after our bout together and I really appreciated it.)

Upstate, from Greenville/Spartanburg came in 7th.Wootwootwoot!
Not sure where we landed, but it didn't matter. We had a wonderful time warming up & our last bout was incredible and fun.A room of love.

179
General Discussion / Re: *GAH* The BERKELEY CURSE!!!
« on: April 30, 2007, 10:17:55 PM »
I'm also sayin' ---Go, Kat, Go!

And curses be broken! Can't wait to see (eventually, hear) how it turns out! :D

180
General Discussion / Re: Memorization question
« on: April 30, 2007, 10:11:13 PM »
Rock.Paper.(scissors)... ;)
I say go for it.
I also say, as someone who rocks paper, I find myself compensating sometimes.Going for the funny or the political, but I just found that writing an earnest piece and really feeling it and really bringing it got me good scores.I do have the niggling sense that it would have done better if I didn't have that piece in my hand, though my fellow poets said I brought it  and had such a connection with the audience, that it didn't matter.I've been doing my own bit of trying to change at least local perceptions about paper rocking, by some sort of example, but I don't have blinders on.

I also find that if I rehearse, rehearse, rehearse, even memorize it to the best of my non-actor ability, then I'm kinda more off the paper anyway.
I've even played with making the paper smaller (as index cards) or cramming the piece on one page so I'm not flipping or shuffling, which also has worked for me alright recently.I'm also going to tell you to go for it because I know what an excellent performer you are & I think you, of anyone, will be able to adapt to some sort of small or shorthand paper rock out possibility.
Another bit to consider is that, while I am horrible at memorizing (which may go back to my own head injury or some other, more figurative blockage), I'm MUCH better at it in group pieces or working in a group, because then the cues come from the other players, so if/when you make a team, I imagine that might help you out, to answer the question about hindering your team in regard to the group piece aspect.This goes to what some of the others have mentioned with visual/physical cues.

Some of my favorite slam memories and poems are the ones I've heard/seen done with paper in hand.Scott Woods in St. Louis, Eric Darby in ABQ,Jared in Charlotte, Andrea and Jamie in Vancouver.It does convey a kind of "hot of the press," "so from my guts, I just wrote it to serve up to you," or a kind of urgency to it.

There's also quite a bit of time between now and those first weeks of August(which doesn't help for the local finals, but hopefully it won't matter you out of contention). I know it must be frustrating, sometimes I'm frustrated by it.

But then my ego of wanting to be different & having my piece heard & joining in the fray---these things keep me into it  ;)

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