Wednesday, August 20, 2014

NAROPA [DIS]EMBODIED POETICS CONFERENCE October 10-12, 2014



Subject to Change


 


[DIS]EMBODIED POETICS CONFERENCE





Sycamore 8140 (Friday)


•1:00pm - Precipice: the edge as a practice for scaling place. Jade Lascelles, Kristen Park, Matt Wedlock


•3:30pm - Withness: thought-start in creative-critical practice. Lisa Samuels, Duriel E. Harris, Megan Kaminski, Marthe Reed





Lincoln 4130 (Friday)


•1:00pm - Collaborative Being: Gender, Race, and Sexuality. Amaranth Borsuk, Andy Fitch, Aimee Herman, Ailish Hopper


•3:30pm - Writing and Performing [Dis]embodied States of Being: The Poetics of Disability, Movement, Grief, and Sensuality. Shelia Black, Amber DiPietra, Margit Galanter, Lisa Gill, Violet Juno, Denise Leto





Student Center (Friday)


•1:00pm - Illness, Language, and Perception. Richard Froude, Sarah Boyer, Eleni Stecopoulos


•3:30pm - "To sail in the dark:” history and hybridity in the wake of Zong!. Rosa Alcala, Susan Briante, TaraShea Nesbit, Sarah Vap & Ruth Ellen Kocher





Performing Arts Center (Friday)


•7:30pm - Keynote Lecture with Lisa Jarnot





Sycamore 8140 (Saturday)


•9:00am - Writing and Being Collaborative Transformation. Laura Wetherington, Hannah Ensor, Jill Darling


•1:00pm - Disembodied Forensics: Societal Anatomy and Cross “Culturalization”. Derek Fenner, Shin Yu Pai, Christopher Luna, Austin James





Sycamore 8120 (Saturday)


•9:00am - Bending the Source: Research, Poiesis, and Document Fluidity. Kristin Cerda, Athea Merredyth, Merete Mueller, Andrea Spofford


•1:00pm - The Mother Embodied: Poetic and Hybrid. Sarah Fox, Danielle Pafunda, Susan M. Schultz, Joseph Harrington, Dennis Etzel Jr.





Sycamore 8150 (Saturday)


•9:00am - Echo Locution : Aural / Environment / Body / Poetics. David James Miller, E. Tracy Grinnell, James Belflower, Maryam Parhizkar


•1:00pm - Reading/Writing and/as (Critical) (Animal) Inhabitance. Linda Russo, C.S. Giscombe, Brenda Iijima, Laura Woltag





Pavilion (Saturday)


•3:00pm - Opening reception . Food and book fair featuring: Boulder Book Store, JKS faculty and staff books, panelists' books, and Bombay Gin Literary Magazine.





Sycamore 8140 (Sunday)


•10:00am - Bearing Witness from Negotiated Spaces: Towards a Poetics of Occupation. Jessica Rogers, Stefania Irene Marthakis, Jason Cerrato


•1:00pm - Ecoskeletons of Language, Sound, and Impossibility: [Dis] Embodied Lineages. Julie Joosten, Matthew Pincus, Connor Fisher





Sycamore 8120 (Sunday)


•10:00am - Sewing is Writing is Body is Sewing. Rachel May, Jennifer Tamayo, Jill Magi, Jen Hofer, Elena Berriolo, Jan Johnson


•1:00pm - Touching Writing, Haptic Thinking: Embodiment, performance, and touch-screen literature. Amaranth Borsuk, Kate Durbin, Samantha Gorman, Ian Hatcher, Stephanie Strickland





Sycamore 8150 (Sunday)


•10:00am - Radical Improvisation: Meditations on Dirt. Samuel Ace, CAConrad, j/j hastian


•1:00pm - Writing: the Poetics of Trash. Allison Cobb, CAConrad, Jen Scappettone, Eleni Sikelianos





Performing Arts Center (Sunday)


•4:00pm - Kerouac School Reading. Readings by JKS faculty, Lisa Jarnot, and the work of Anselm Hollo





Innisfree (Sunday)


•7:00pm - Innisfree Open-Mic. Off-site open mic for JKS alumni at Innisfree! 1203 13th St, Boulder, CO 80302 (303) 495-3303

Friday, August 1, 2014

[Dis]embodied Poetics Schedule So Far, Naropa, Boulder, Oct 10-12

Below is the schedule for the panels. We have not yet assigned panels to days and time slots but will be doing that in August. As for Sunday, There are panels from 10-12, and from 1-3, then there's a big reading from 4-6 and an open mic off-site at 7. I hope this is helpful!
Friday October 10th 1:00-3:00 PM: 3 panels 3:30-5:30 PM: 3 panels

Saturday October 11th 9:00-11:00 AM: 3 panels 1:00-3:00 PM: 3 panels

Sunday October 12th 10:00 AM-12:00 PM: 3 panels 1:00-3:00 PM: 3 panels

New projects: post-PTSDADHD and KC Royals

Shanna Compton recently posted on facebook:

Advice: Should Bloof Books also be explicitly stating we welcome poets with disabilities? Is there good language for this I can borrow? I don't see other presses doing this really.

This really inspired me to examine my own issues in my life: depression, ADHD, PTSD.


My first project is post-PTSDADHD, where I examine my life now in association with then.

Another has to do with Dan Quisenberry. Travis Macdonald found an article about his poetry, so it would be a  write through with his book of poems and memoir about my childhood. I reclaimed baseball recently after making amends with my father. There is a lot of tension and resonance around the two. More coming.

Monday, July 28, 2014

Topeka Immersion-Somatic-Becoming Poetry Project #6

Topeka Immersion-Somatic-Becoming Poetry Project #6
for Leslie Von Holten

[

This project is in two parts. You will need a good sketchbook, a pencil (charcoal preferred), and a pen.

Go to a coffeehouse, a park, a historical location, or somewhere people are.

For the first part, you are an artist. You specialize in drawing. If you cannot draw, don't worry. You can sketch. Sketch or draw the best you can.

You are working on a collage of things. You are an artist working in your own style.

Take fifteen minutes to relax and mediate, then relax until you notice something or someone that interests you. Do your best to draw her or him, or the thing of interest. Sketch if you want to. Draw or sketch wherever you want on the page. Sketch or draw how much feels right to you. Leave lines unfinished. Leave lines going into other parts of the page.

Work in pencil or charcoal. Avoid self-editing. Simply continue or combine.

Continue relaxing, sketching and drawing whatever attracts your interest.

You are an artist in a public place, sketching your impressions of that place, everything in it, in the way you sketch or draw, in the way you are interested in the things there in that moment.

When you finish, be sure to date and sign the back. Sign the front if you want.

[

For the second part, you start another page while looking at your collage.

You are a poet now. Write whatever impressions you feel from the art.

Use concrete nouns, words to describe what is happening on the page.

If you feel a narrative, write a narrative. If you feel lyrical, write a lyrical poem.

Make connections with the connections on the page. Is there someone looking at something? Write about it.

Work in pen. Avoid self-editing. Simply continue or combine.

Feel free to not get it right. You are a poet. You can write whatever you want and not have it right.

[

Sketch a collage and write a poem each day of a month. Go to the same place every day.

[

At the end of the month, contact the place you went to and ask about doing an art show. If a coffeehouse, ask the manager about a show.  If you chose a park, tack up your work on trees.

[


The goal of this project is to 1) further finding the artist-poet in each of us and 2) to find connections with place and community. Each of us can connect with community in many ways. This is one way to do it.


Topeka Somatic-Eavesdropping-Attachment Poetry Project #5

Topeka Somatic-Eavesdropping-Attachment Poetry Project #5
for Kevin Rabas


Go to your favorite coffeehouse with pen, paper, and a poetry book. You should do this project when people are around.

Start with your coffee or whatever drink at your table, getting into your meditation. Breathe, relax, take in everything in the coffeehouse, everything in the moment.

You will be moving during the project. Move to another spot if you feel it is right. This is to be active in the present moment.

You will also be at rest and waiting. Rest and wait if you feel it is right. This is to be active in the present moment.

You will also write based on what is overheard, what comes to your mind, and what is in your book. Write whatever you feel. Follow your creative moment in deciding which to consult.

Keep in mind you can riff.

It takes a little while to get into doing this. You might feel foolish moving around so much, then remaining still. After half an hour, you will find your stride.

If you need to, take your iPod, Walkman, etc. to wear. Listen to your favorite Jazz tunes at a low setting so you can still overhear what is going on.

An alternative to listening is lip-reading, tapping on the table, and such.

Give this poem to a friend or someone in the coffeehouse.

[

Kevin wrote to me, "Jazz is improvisation. Everything is improvisation." He is an amazing poet and Jazz musician, so this project riffs off of his quote." The idea for this also came from how when Kevin and I are together we enjoy hanging out at coffeehouses. We sometimes do spur-of-the-moment writing exercises, often putting together a chapbook of poems from Xeroxed notepad paper.

I often go to coffeehouses to meet with someone, to write, or to grade online. With any of these, I become tunnel-visioned out of concentration. This project attempts to do the opposite, to connect with others without being too obtrusive. To improvise. To be in the moment.

T.S. Monk: "What a lot of people don’t understand is that jazz is not driven by technique. Jazz is driven by philosophy and it has always been driven by philosophy. There’s a root philosophy to the music that will pass down from generation to generation and one of those philosophies is that you can’t stay in the same place. You must move forward. You must stay on or as close to the cutting edge as you possibly can. The objective is to explore the unknown. Fear of the unknown drives so much negativity in the human psyche. It is the objective – going back to Buddy Bolden and Louis Armstrong – to play something that you never played before."

I am taking Monk's quote figuratively and literally, that a poet keeps moving, keeps improvising, going forward.

Monday, June 30, 2014

Topeka Trance-'Cryption Poetry Project #4

Topeka Trance-'Cryption Poetry Project #4
for Joe Harrington

Put your team's baseball cap on. Plan to write during the evening game, and to have it on the radio. Better a transistor, but even a phone with an app for listening will do. Begin deep breathing. If you find your mind wants to start the poem, write the envoi.

Several things will happen during this project: Your love for listening to baseball, your love for the language used for the game, your love for writing, all of the emotions you have about each combined in this moment of meditation.

Think of this as a meditation in the way you write poems. You will write slow while listening to the game. You will listen for those words that come in your mind. If you love writing fast, write fast only when you are following your own path away from what is said.

Begin writing as soon as you hear the sportscasters give whatever wording it is that signals that the game has started.

Keep in mind that sportscasters speak fast as you will stay meditative. Write the words that resonate with you as you hear them. However, be ready to continue with the other words that follow what you have written. Stay in that moment until you are "stuck". Go back to the game and continue.

Write until you are finished.

[

What is Trance-'Cryption? It is where transcription, trance poetics, and encryption meet.

[

The idea for this came from how many poets are baseball fans. Joe, Susan M. Schultz, and so on.

http://www.poetryfoundation.org/article/244646

Ron Silliman? Anselm Berrigan and Bethlehem Shoals? Yes!

I wanted this project to reflect these poets' sentiments about baseball and poetry. Plus, I wanted to honor my friend.

I am fascinated with sports talk. Listening to a ball game is unique, in that almost all sportscasters sound the same, use the same rhetoric, and such. However, there is a lot said that goes outside of what happens in the game.

I also wanted a poet's aesthetic to come into play, that going into that poetic trance for writing should be the main goal--the thing privileged.

[

My poem coming soon.

Thursday, June 26, 2014

Topeka Somatic-Trance Poetry Project #3

Topeka Somatic-Trance Poetry Project #3
for Melissa Studdard

Prepare for this project by reading through it until you are ready to move through it without worry of its "directions."

We have someone we care about--real or imagined, living or deceased--who is a heart-guide for us. Even if this person rarely spoke, or you never met her or him, or whatever reason or non-reason, this person is important. This project attempts to uncover and [re]cover your connection via a poem. This poem is also a gift for you and her or him.

This project relies on our abilities to find a center throughout whatever chaos, loss, the past, etc. Poetry brings our attention to the present moment, transcending time and space, so using the body while writing is important.

First, do simple breathing exercises. Rest with deep breath, and center your spine as perpendicularly with the earth as possible. Close your eyes if you need to.

Take out "scrap paper" to circle on. You might need ten sheets. Maybe fifteen. Write the name of your heart-guide at the top of each paper. Choose either way to circle, whatever way feels comfortable, beginning at the center and moving outward on the paper.

While doing this, close your eyes and think about the person, the essence of your center, the essence of your emotion. Do your best to continue with breathing, with spine-alignment, with circles.

Continue doing this exercise until you are ready with an image. This meaningful image will be the concentration of your poem.

Begin writing in the middle, circling outward in the same way you drew the circles. Your circles of meaning, memory, emotion will become words now. Stay with words for that image, using repetition, reflection, modes of looking to fill the page with words around (bad pun!) that image. Allow whatever other images that come in while on the page to connect with that image.

Do not worry about the placement of words. Stay in the trance of your movement.

When the page is full and you have another image, start with it on the next page. Start anew or continue--whichever you feel is "right." If nothing comes but you want to continue, try drawing circles again.

Send this poem to your heart-guide, physically, mentally, or by any other means.

You might have several heart-guides. Select another one tomorrow.

[

Note: I love Melissa's work for its mix of mystical imagery, as well as her heart-approach to the world. Here is an interview with her:

http://www.theenchantingverses.org/interviews.html

"Art is about discovery and sharing. Inside each of us, crashing against the shore of ego, are waves of truth trying to push their way onto land."

I wanted to take my reflections on her and her approach to poetry, as well as traditional approaches to meditation and the body-mind-heart, to create this project. I hope I accomplished this.

[

My own writing: [coming soon]