Directory of Arts Activism - Dark Matter Archives

al Correspondence $5.0I ;,

W[] WD[1L1[I]Gl? w[] .0D0ffi[P[P[]ffi[]J[]0 ~DIRECTORY OFARTSACTIVISMA Publication of Cultural Correspondence

TABLE OF CONTENTSCC new series issue # 3Copyright by Cultural Correspondence, 1984.Limited reproduction permitted but not encouraged. Copies are availablefrom Cultural Correspondence, 505 West End Ave .. 15C, New York, NewYork, 10024. All Rights Reserved by original authors.ISBN' 0-941702-10-3 (paperback)ISBN" 0-941702-09-X (hardback)Published in cooperation with Lake View PressIntroduction by Susan R. McCarnDIrectory Key ..Other Directoriesc.c.'s Entry by Jim MurraySOUTHEAST Region.NORTHEAST RegionArtists' Activism in '83 by Eua Cockcroft"On Listening to Nicaraguan Poems ... "by Iruing Wexler.MIDWEST RegionNov. 12th Anti-intervention Demonstration: A Description of the Makingof a Work of Art by Charles FrederickNovember 14th by Charles FrederickNORTHWEST RegionCreating Life Out of Fire, Madness, and Death: Organizing Culture inNicaragua by Susan R. McCarn and Victoria Rue.SOUTHWEST REGION .INTERNATIONAL.Index.Publisher'Editor:AssociateEditors:Designer:Associate Designer:Intern:Entry Editors:SpecialAssistants:Assistants: JosieFowler, PeterGuttmacher. EricWalstedtTypesetting:Production Stoff:Proofreader:Symbol Design:Jim MurraySusan R. McCarnDaniel Brooks, EvaCockcroftEva CockcroftIrving WexlerElizabeth KaczmarekMichele Arsenault,Charles Frederick,Elizabeth Kaczmarek,Lucy R. Lippard, MartinPeterstltaMichele Arsenault, JuliaDvorkin , Augustin LaoPolly ParksEmily Breer. JoeStephensonJim GrahamThanks to Matt Mullican,Eva Ccckcroft. andIrving WexlerMany people responded to the call for theCultural Correspondence Directory of ArtsActivism by sending all their publicity material forus to write an entry from. Accordingly, with the.4.6H89.27.444785110.. 112113118.123147156understanding that one of the purposes of thiSpublication is to help advance and further publicizethe work of those listed. we have reproducedmuch text and artwork from the materials sent us.Wherever possible we have been careful to fullycredit any such reproductions and have tried torepresent the entrants as closely as we could to theway they represented tnemeetves. In many casesno photo credits were printed in the originalmaterial so none appear here. Wherever it wasclear that material was not for reproduction we didnot do so. We are sorry for any problems ourpolicy may nove caused.CORRECTIONS FROM c.c. New Series #2.'We Want To Live!"-C.C. apologizes for thefollowing errors from the preotous issue.' P. 12. thecommunty sculpture attributed to John Weber andLynn Takata was a Lynn Takata project, notajointendeavor. and she should have been giuen solecredit. P. 37. cropping the poster for the RadicalHumor FestilJal eliminated the information that thefestiual was co-sponsored by the NYC Center forMarxist Studies. P. 87. we misspelled the name ofthe poet Helene Kendter. and printed the title "TheShark" on what should bcue been an untitledpoem.2 Cultural CorrespondenceCultural Correspondence 3

This publication is dedicated to, and is aproduct of, the notion of networking. Networkinginvolves establishing and maintainingcontact between different groups and individualsorganized around similar concerns;sharing information, ideas, resources, andsupport. It isessential for access to all kinds ofalternative work, including a wealth ofcreativity unsupported by the mainstreamsystems of market and media. A network isnot a coalition; it is an ongoing enablingalliance, where a coalition is usually a projectoriented unity. One reasons for networking isso that we know who there is out there to gettogether with when the need arises to buildworking coalitions.At a conference of the National Associationof Arts Organizations in Chicago thisyear ,Hugh Southern {Deputy Chair of theNEA{ said that in order to build a coalitionyou have to be willing to give up a piece ofyourself and recognize that we have a vast arrayof needs, all of which could neverpossibly be met in a consensus. So we haveto put away some of our individual needsand those of the organizations we represent'to identify two or three common needs whichwe can rally around in order to form workingalliances,This is a top-down definition not a selfdefinition. It is doomed to pe~etuate thefragmented formations of our lives. Toomuch of our need to network is defined atbase .from the outside, from the necessity ofc~eating empowering alliances in a vast anddtsempowering social context. We network~ocreate a community for ourselves. That is,Inthe dominant culture Iam second: I arn secondas a woman, I am second as a radical Iam second as an artist; within the radicalcomm.unity I am second as an artist; withinthe.artlsts community, I am second as an expenmentalartist; and the list goes on. I networkas part of th eon going process ofcre~ting a liberated zone for myself in thissocIety;. a place where I can exist reasonablyand maintain pride in my priorities and workand from which I can draw the tremendousstrength n~ce~ry to continue the strugglefor alternatives 10 a deterrninately static society.Inetwork to build for myself the communityrtiwher~I am first woman, first radical firsta st; were Iam understood for my actions4 Cultural CorrespondenceINTRODUCTIONby Susan McCarninstead of for what I reflect.With this understanding of the motivationbehind constructing alternative networks orcoalitions, Iargue my way into every allianceI make. I hold fast to what is dear to me aboutmy identity that is challenged by the dominantculture. I am a part of my constituencyand I work to represent my own diversity ofdesire as much as I work to understand thatdiversity in others. I can't go to ten political orcultural meetings in one week, one for eachof my priorities. I am most powerful when Iam whole. I work best in groups that areloosely pre-defined and allow for an emergingidentity. I understand thoroughly thatsuch an identity doesn't rise like flowers in thespringtime; but if I start out by being quietabout most of my needs except two or threeit won't be born at all.'The Cultural Correspondence Directory ofArts Activism is cornpliled and printed in thespirit of the emerging identity of the contemporaryprogressive community arts movement.This is why we chose not to define theterm 'arts activism' or 'progressive culturalwork' in reaching out for entries for the directory.We are not serving the structure of aspecific mass movement - we are busilysupportingas many progressive causes as wecan, laying the foundations for a qualitativelydifferent future, and creating a new cultureinside the decay of the old. As progressiveartists we locate ourselves differently at differenttimes and places; many of us wouldn'tdefine ourselves as progressives, but are carryingon the vital work of supporting alternativeimages in a powerfully homogenizedculture. We have diverse priorities. One ofour hopes for the directory is that ithelp us geta closer look at just how diverse thosepriorities are among self -defined arts activists.Those of us who have done editorial workon this issue have thoroughly enjoyedreading it, It is a surprising and amusing collectionof approaches to alternative culturalwork. The most interesting entries to mewere the ones I least expected -like thegroup that provides jazz for shut-ins inHouston; or Sandra Marie Fluck in Penn-Street theater 0 . d . 1Brook S rgaOlze by CoCofor Artists Call Back row: Peter Cockcroft. DameElizab:ih ~san R. McCarn. Front: Walter Spenc'er, Joel Cohen, Deborah Kaufman,aczmarek, Eva Cockcroft.sylvania, who has helped advance thepolitical awareness of her entire communitythrough the old form of an annual highschool essay contest by making "Peace" thecontest theme several years in a row.We tried to take listings mostly in the formof personal descriptions. Frequently we hadto lift sentences from 1 or 100 pages ofpublicity materia]; then the style was dictatedby the intended audience of the originalmaterial-public, press, donors. Most of theentries we received were too long for publicationin their original form. Our guidingeditorial policy was to express information asclosely as possible in the language of the entrant.We often constructed shorter entriesentirely from the sentences and words of theoriginal material; but where it was necessary,we used connective phrases or condenseddescriptions of our own. The entry editors forthis issue were: Michele Arsenault, DanielBrooks, Eva Cockcroft, Charles Frederick,Elizabeth Kazcmarek, Lucy R. Lippard,myself, and Martin Peters ilia.This publication is a movement document.Its origins can be traced to a meeting followingthe PADD-organized February 26 Movementin 1982. At that meeting the needasserted for a comprehensive directory of artsactivist work in the U.S., asa catalongand asa networking tool. Jim Murray committedC.C. to the publication.Two issues of C. C. were to come beforethe directory: New Series #1, the catalog ofRadical Humor Festival organized by C.C,and the N.Y.U. Center for Marxist Studies;and #2, "We Want To Live!" is also the title ofa shdeshow survey of the visual imagery ofJune 12; it was co-produced by PADD andc.c., distributed by C.c., and has beenshown across the U.S., Canada, andEurope. The directory was further advancedas a project at the sixth annual conference ofthe Alliance for Cultural Democracy (ACD,then the Neighborhood Arts Programs NationalOrganizing Committee), in Omaha inOctober of 1982.In February of 1983 we sent out publicityinformation on the upcoming issue of c.c.,along with 2,000 requests for entries in ournext issue, this directory. The history of thedevelopment of the directory since then hasbeen spotty, bumpy, slower than we wouldhave expected, and then, suddenly, faster,more committed, and more rewarding thanwe had hoped. In other words, it hasoperated like everything else on the left: itwas much harder than we were prepared for,and there was more support than we'dbelieved in.As of our original June deadline we had 20entries, and those did not include most of theorganizations C.c. works with. Through therecord-hot summer and early fall, we did aphone campaign and a hate-mailing to about500 of the groups and individuals we weremost familiar with. We reminded people inthis second mailing that C. C. was trying toprovide a service that had been requested ofus with this publication, and that we hopedfor the help of all who considered a directoryC.c. banner on the People's Monument November 12 in Washington, by Eva Cockcroft.an important project. We also worked to extendeditorial involvement in the project andinvite broader participation in general. Bymid-September we had about 170 entries.At the Seventh Annual ACD conference inOctober 1983, Charles Frederick and I advancedthe cause a little further and theAlliance took the directory on officially as aproject, assigning to each of its new regionalmembership coordinators a quota of entriesfor their region. All of the ACD regional coordinatorscame through with their pledges!This was important to the spirit and accomplishmentof the work, and we thankthem. They are: Traci Ardren, Cathrine Jordan,Glenn Hilke, Ken Larson, Doug Paterson,Michael Perri, Martin Petersilia, andDebra Wise.Dan Brooks, Eva Cockcroft, and I spentDecember and January on the phone bringingin the most glaring ommissions. More entriesarrived every day by mail. In mid-January we realized we had over 500 entries.I would like to make it clear that this workhistory is not just a bigger-is-better numbersgame. It is a brief account of the process involvedin creating a useful networking tool. Itis necessary to understand that without adequatenetworking-from people simply takingthe responsibility to send in their entries,to the hours of volunteer editing, to the involvementof the Alliance's regional coordinators-wecould not have produced adirectory that accurately reflects the contentsof a burgeoning cultural movement. The 20groups we had in June didn't tell the realstory. If we had printed it in September, with170 listings, it would not have been ethicallyor formally diverse enough.As it is, the Cultural CorrespondenceDirectory of Arts Activism is both too shortand too long. It is too short because it is stillonly a small part of the story. It is too longbecause, given our limitations of space andbudget, it isn't as photographically dynamicas the last C.C. You don't need to flip far tonotice that this issue is dominated by text. Wehope you'll think of it as 500 short articles andread through it and use it.The directory is a tool. My job will be easiernow that I have a copy of it on my desk. It isnot a theoretical publication-it is a publicationfor the advancement of practice that willfind meaning in use.Culturol Correspondence 5

DIRECTORYKEYare listings on that page. The listings One reason we are drawn to alternativethemselves are then alphabetical inside the arts work is precisely because we choose notBelow are explanations of design features city/state division. First, flip to the region yo~ to overspecialize; we want to be creative in asof the CULTURAL CORRESPONDENCE want, then alphabetically to the state, then, If many ways as we enjoy. Many of the listingsDIRECTORY OF ARTS ACTIVISM that will necessary, to the city, and finally the name. here could have been lumped under thehelp make it useful to you-specifically, This design makes it easy both to find interdisciplinary symbol; but, for the sakeofgeographic and discipline indicators. There is something specific you are looking for, and to reference, if a particular kind of work stoodalso an INDEX for quick reference. It is at the explore the cultural activity in the out as in the center of an multi-mediaback and includes every entry listed surrounding area. process, that was the symbol we wouldalphabetically, with a few words of Suppose I am a performer and what I assign. There may be cases where we havedescription and the page number of the really want to know is who else is doing given a painter/photographer/performancecomplete listing. If you haven't set aside the alternative theater work and what kind of artist a palette, who really spends most ofnext month and a half to read the directory, work they do; how do I pick them all out of their time performing. We apologize for anythe index is a good thing to flip through and this mammoth tome? Easy. You flip through misplaced signifiers. Also, be aware that iffind out what groups you'd liketo know more the pages and follow the symbol key you are exploring a specific medium theabout. explained here, looking for entries with the symbols will be helpful, though you mayThis directory is arranged regionally sign of the medium you are interested in. want to dig deeper to find, i.e., writers whoaccording to the divisions shown in the map The symbols are loose distinctions of form. write about visual arts, or dancers who usebelow. States and major cities are arranged Except in the case of the community center video. [This may be especially true in the areaalphabetically within the regions. At the top and the network, symbols may refer to an of writing; many people who write, describeof each page, you willsee the overall region, individual, a group, a non-profit foundation, their other work in greater detail, hence willand the names of the states for which there et. al. not be listed as "writers.")-..The palette is the sign forthe visual arts. It is oneNdworker / InterdisciplinaryArtist. This Isfor•of the most common~ .......signs in the book and A publicationpeople who not onlymay denote a painter, a"Dancedescribes themselves assculptor, a mural project,working in manya gallery, a visual artsdifferent media, but alsoservice organization, etc.those who don't tendtoward anyone---predominately; also Jor~f5 ..networkers betweendifferent projects orMail ArtTheater photographyorganizations.IfP:., J .:'11IWriters.A NetworkMusici) Film••••~w~/"'."'~"", ...~Community Center. Thissymbol means there is a'WIDistribution. This is a dplace aSSOciatedwiththis listing and open to• •VideoRadioplace where you can senaway Jar something- r.e.the community fora mail order house, orcultural work.publications distributor.--6 Cultural Correspondence 7. Cultural Correspondence__

CC's Entryby Jim MurrayWh t k· d f k dodo? What kind of work would you like to do? How would you identify the community you work jor/With?a In 0 war 0 Y U ;lDo k' . ti 'th "How was your group formed? or, Why do you work alone? Are you looking for a group or partner. you war rn aSSOCIQ Ion WI speC/Jlcpolitical groups/issues? " . " h III love these questions. They are radical and universal. In his song "Ang~1from MO,?t~omery, J~hn Prine a~ks, How the e can a person/Goto work in the morning/Come home in the evening/And have nothing to say? SImple. Don t ask questions you are not supposed toask. Susan McCarn wants me to write CC's entry. These questions ore CC's entry, and she wrote them. The people in these pages had notrouble with these questions. Nobody said, "Hey! Why don't you ask about our politics?" Indeed, we got no outcnes ~~amst th.e qu~stlons,which isremarkable considering how ornery and indepenent arts activists are. Ifigure these questions must be pretty familiar. Their social contentis lived. They are a useful starting point for organizing our relationship to society. They help us organize OUT own cUlt~re.Once when we showed our audiolslideshow "We Want To Live!" (Art Works for Peace, June 12, 1982) a woman objected to the tagline "When we say Freeze! we do not mean to keep things the way they are." What are you: socialists. anarchists, communists, or what! Herpoint was that if we couldn't answer we were liberals or jerks. Well, she would love this book. It is not something the left would recogmze aspolitical matter. The sectarian politicos and professorial know-it-alls out to control radical social thought do not recognize the existence of theiceberg whose tip you hold. But of course they will if this book is reviewed in the Times,This volume isthe kind of work CC does. Icommitted CC to publishing this Directory at a meeting for those national people who came toThe February 26th MOvement, a conference organized by PAOlO (Political Art Documentation/Distribution) in New York in 1982,.'thought it could be published by late 1982, and I thought it would be about a fifth this size. Alas, this movement is growing fast. I regard thissurvey as representative. certainly not complete.The community CC works with is the very large and diverse group of people who are bored with the left. people who believe there isnopolitical freedom without cultural freedom, people who don't like being spoken for even as much as Iam now, The community Ikeep in mindincludes those in the future who will wonder what was going on underneath official American culture.Cultural Correspondence was founded by Paul Buhle and Dave Wagner in 1975. Paul put out a dozen issues from 1975 to 1981,presenting a positive notion of popular culture to left Wing intellectuals. CC's big idea was that culture is not just a means of social controldirected by a hegemonic Establishment and that ordinary people are not the duped units of market researchers and public relations.Since' took over in late 1981, CC has done the following. Early 1982: co-organized the Radical Humor Festival in New York andcurated th.eTravelli~g Radical Humor Art Show which has centered local festivities in eight cities and is still going strong. (Tamiment L,ibr~~yatNYU has Just established the Social Humor Archive directed by Paul Buhle and myself.) Late 1982: CC co-produced "We Want To LIve! theaudiolslideshow which has now been seen in 20 states, Canada, England. and most of Western Europe. Early 1983: CC published We Wa~tTo Live! issue of the magazine, 96 pages packed with the raw material of this cultural movement. (Please see the house ad in the back of thisvolume for ordering information on all this stuff.) Then' spent most of 1983 in the West Indian community of Brixton, London, working assecretary and archivist for c.L.R. James, while Susan McCarn organized and edited this volume in association with Eva Cockcroft. Futureissues of CC will probably also be published in book form.ln 1?84 CC willhelp build the New York chapter of the Alliance for Cultural Democracy. an organization whose special virtue heretoforewas that It had no New York chapter.Southeast:Magnolias and dogwood . Textile millsand coal mines. Swampsand orchards, Birthplace of jazz andcivil rights. The dynamism ofmodern cities emerging from thevaporous heat-laden contradictions,As for me, I am a performance poet and journalist. J used to teach American Studies, I write "Jim's Letter" which I would be happy tosend y?u. (JL is a cranky critique of goings-on in the movement and the general culture.) I guess I am a movement hawker, a barker forrevolutfon. I am available for readings. and' love to talk about C.R.L. James. Please contact me at 505 West End Avenue. New York. NewYork 10024. Phone (212) 787-1784.ALITRNATE ROOTSREGIONAL ORGANIZATION OFTHEATRES- SOUTH, INC360 Fortune Street, NEAtlanta, GA 30312(404) 577-1079 contact: Ruby LernerAlternate ROOTS is a coalition of professional,community-based performing artsorganizations and Individuals locatedthroughout the Southeast. They havepri~ted a handy and complete directory oftheir membership, with descriptions andphotographs. For more informettcn, see theAlternate ROOTS listingMIDWEST DIRECTORYOF LATINO ARTISTS/ORGANIZATIONS567 W_ 18th St.Chicago, IL 60616A directory containing information on8 CulturalCorrespondenceOTHER DIRECTORIESLatino painters, poets, theater workers, andcultural arts organizations in the Midwest.This Directory contains information on 91artists and 30 organizations. Published byMIRA, the directory costs $3.00 plus $.50for postage. See also: MIRANATIONAL ALLIANCEOF MEDIA ARTS CENTERS5 Beekman Street, Room 600New York, NY 10038(212) 233-3900The National Alliance of Media ArtsCenters (NAMAC) PUblishes The GUide annuaJly.~tis a comprehensive regional listingof media arts programming, exhibits, lectures,seminars, and media related activitiesthroughout the U.S. For more information,see the NAMAC listing.NATIONAL ENDOWMENTFORTHE ARTSCivil Rights Division2401 E Street, NWWashington, DC 20506A Directory of Minority.'ArtsOrganizationow~has been published by the National ~:essmerit for the Arts. It contains the aphone number, contact name and iZB'idescription of more than 400 arts 0rsa:tions across the country. These orga ttions include non-profit groups, pr~nhaveliterary, and visual a:ts progra~S. edomileadership and consliuency that ISfl dernantly Asian-American, Pacific 5 an uWblack, Hispanic, - N ative . A rn ancan , or mracial.WE ARE STRONG . diesc/ a Institute for Cultural Pohcy Stu120 South Broad St.Mankato, MN 56001a quidebook of people's theatresSee page %1. Everyone Understands Freedom. documentaryof a performance event; Washington,D.C.... 2. Maida Withers, The DanceConstruction Company; Arlington, VA....3. Dancing on the picket line in Kentucky,from the Highlander Center; New Market,TN. Photo by Karen Kasmauski .... 4. Performersfrom the LlvJng Stage; Washington.D_C.Curtural Correspondence 9

SOUTHEASTFLORIDAFLORIDASOUTHEASTECLOWNIBUSCOMMEDIUM1716 N.E. 8th StreetGainsville,FL 32601(904) 378-3114Contact: BillSnyderE Clownibus Com medium is a one-manshow created and performed by BillSnyder.It is based on. the European tradition of theactor-clown who performs a wide variety ofsolo acts with littleor no make-up. E ClownibusCommedium ranges from sophisticatedhumor to slapstick comedy and is constantlyadapting to suit audiences' needs. As a proficientactor and energetic athlete and genuinelyfunny man, Bill Snyder successfullypersonifies CLOWN with merriment, sensitivity,pathos, and joy of life.Member ALTERNATER.O.O.T.SCHROMIUM MINSTRELS1938 Adams Lane "0"Sarasota, FL 33577Contact: Dr. Zagorc/o Silver King BandP.O. Box 46875Saint Pete Beach, FL 33741Contact: St. Petey Twigs& Flo MingoWe are a production company and tribal unit for semi-migratory performing artists.As performers in the popular arts we support ourselves by writing, clawing, magic,circus arts, and boogie woogie. As fine artists we pursue the edge of new theater,video, audio, sculpture, graphics, painting, and poetry. Our whole reason for existingis to try to help ourselves keep from taking ourselves too grimly. We believe thatif your work isn't fun you shouldn't be doing it. In this manner we strive to make a virtueof leisure and a pleasure of work. That seems to run contrary to most other directionsin our culture so we must be doing something right. To us the central problem ofcultural democracy is how to make a Ilvinq in a humanistic way. We joined togetherfor that purpose. A bunch of smarty pants, we try to move in the direction of thestupid.Currently we make most of our llvinq in Europe and spend a few months of theyear in Florida. We sponsor two major events each winter and spring-the ClamBayou Blues Festival and the Florida Festival of Fools. Interested participants shouldcontact us by mail. In 1984 the Fools Festival will take place the last week in March.Those intersted in the philosophy of the stupid are invited to write for a copy of theManifesto on the Art Stupid by Dr. Zag. (Members of Alternate R.O.O.T.S.)CREATIVE ASSEMBLY PROGRAMS, INC.1982 Baywood PlaceSarasota, FL 33581(813) 922-4652Contact: Archie ElliottPromote Puppet Theater and Children's Theater.I would like to create a Puppet Theater for Adults.The community I work with is artistic, sensitive, highly cultural.There are practically no practicing puppeteers in this community and thus no exposureof professional puppet theater to the schools hereabouts. I felt that live puppettheater would be an asset to the schools as well as to the community, so I created aprogram that was accepted by the schools and the community and since Idid it alone,I have continued to operate alone.I am not looking for a group, or for a partner, since I don't believe that this nonprofitventure requires it.I do not work with any specific political groups or any issues of that sort, devotingmy full effort to developing puppet theater. . ,I hope to develop a story-telling program, an adult puppet theater, children stheater with the cooperation of local theater organizations now in existence.Member ALTERNATE R.O.O.1.S.SUSAN TAYLOR& COMPANY1810 Hills AvenueTampa, FL 33606(813) 254-4511Contact: Susan TaylorFTF performs across the U.S. in any conceivablesituation from colleges and concerthalls to factories and festivals.Ed Allen and MimiSchulty, the companydirectors, have both studied at the D~ll A~eSchool of Mime and Comedy in Callfomia.and have taught at Ringling Brothers ~~;-num & Bailey's Clown College and the I YCircus Art School in New York.Member: Alternate R.O.O.T.S.Susan Taylor & Company is a professional, community based performance companyfeaturing dance in collaboration with music, poetry, storytelling, and the visualarts, including film.Both structured and improvisational work with musicians, other dancers, poets,filmmakers, visual artists. Would like to do more exploration of "crossover" forms(inter-disciplinary) for performance events; development of "Florida identity" as aperformance artist.The group (still in the formative stage) was formed through natural alliances andfriendships over the years; we all work in common situations with other groups andhave worked informally together for several years. We are looking to address environmentalissues in upcoming pieces; support nuclear disarmament. I also workalone because I like the freedom of doing so.Susan Taylorel9FANTASY THEATRE FACTORYPO Box 450583Miami, FL 33145(305) 285-1905Contact: Ed AllenThe FTFtakes apart the nuts and bolts ofillusion and reality and assembles them intof~ntasy. The magic of FTF gives voice, motion,and color to the inner imaginings ofeach person who shares in the performance.TRACY ARDEN1243 2nd StreetSarasota, FL 33577(813) 955-4960Iam not a performer, but I am a crea.toro}art. I work in visual art and the design Side0theatre. While going to school I do art co or ;dinating and liaison work. I hope in the nexfew years to branch out into dot OlOg morewriting and possibly directing. Altero~eR.O.O.T.S. coordinating and the FIOri aFools Festival are my two largest projects. dI work to build awareness in the south anof the south. There is much more chara~te~and strength in the people here that I thintshould be shared and recognized by the resof the country.I arI am also very interested in the nuc eissues and religious freedom. I ho~e d:~work will branch out to explore anwith these ideas in the future.Member Alternate R.O.O.T.S.RED BASSQUARTERLYP.O. Box 10258Tallahassee, FL 32302(904) 222-1318Contact: Jay Murphy, editorRED BASS is a political arts quarterly, atool for the transformation of society that providesa forum for progressive writers, artists,activists, and organizations. Any material thatfurthers a critical understanding of the currentsocial and political situation is welcome. REDBASS publishes short fiction, poetry, essays,and visual arts. Past issues have featuredinterviews with William S. Burroughs, MargePiercy, William M. Kunstler, John Glome,and Bobby Seale. Send submissions to aboveaddress. Sample copy: $1. One yearsubscription: $5.SPARE CHANGEBox 18441Tampa, FL 33679Contact: Kerry WendellThomey, Publisher and staffSpare Change is a Sporadical Newsletterof Libertarian, Anarcho-Surrealist, Hitch-Hiker, and Conspiracy-Buff Perspectives. Itis published whenever the Spare ChangeInvestment Corporation gets enough sparechange to pay the printer. SPARECHANGES: Once or twice a year, wheneverfour issues of Spare Change accumulate,they are mailed to everyone on theSpare Change Sucker List . To get the nextfive mailings, send $5.Folk Write, also published by SpareChange, is devoted to personal journals andsolicits your contributions of and about folkwriting (anything anyone writes not originallyintended for publication).10 Cultural CorrespondenceCultural Correspondence 11

SOUTHEASTGEORGIAGEORGIASOUTHEASTJohn O'Neal of the Free Southern Theater,photo from Alternate Roots Directory.ART PAPERSP.O. Box 77348Atlanta, GA 30357(404) 885-1273contact: Michael W. Perri. ART PAPERS, a unique Atlanta-basedbimonthly arts tabloid (fullcolor Cover 30 +.b/w illustr~tions, ~OOpp: 6 issues pe; year,7,O~Ocopies per Issue), provides essentialservices to the individual artists of AtlantaGeorgia and the Southeast, promotes andpresent~ the art and artists of the city, stateand re~lon, and educates the general publicr:~~rdm~ contemporary art issues and activities.Since 1978 ART PAPERS hfd das pro-VI e a critic~l forum and a much neededn.etwork .of mformation for professionalvisual artists and members of the rt. bas com-~uOJty y participating in the national~Ialogue on. c~ntemporary art and aestheticsand by g1Vmgartists access to vital infer-ALTERNATE ROOTSRegional Organization of Theatres-South, Inc.360 Fortune Street, NEAltenta, GA 30312(404) 577-1079Contact: Ruby LernerAlternate ROOTS is a coalition of professional, community-based perlorming artsorganizations and individuals located throughout the Southeast. ROOTS is devotedto the support and encouragement of Southern performing artists committed to makingtheir art where they are, out of who they are, and what their communities are.ROOTS seeks to nuture the development of original, indigenous work, ideas and informationamong its members. Through providing access to artistic resources andtechnical assistance in administrative areas, ROOTS' goal is to increase the capacityfor self-sufficiency of its members.Based in both urban and rural areas, ROOTS members range from individual musicians,dancers, mimes, jugglers and storytellers to theatre companies with a fullcomplement of actors, technicians, playwrights and directors. Collectively, ROOTScompanies serve over 750,000 audience members annually. A significant portion ofthis audience is a non-traditional arts audience, not served by established arts institutions.ROOTS was first organized in 1976 and formally incorporated in Tennessee in1977. It has continued to the present time as a nonprofit corporation with the supportof the National Endowment for Arts Expansion Program, The Ford Foundation, TheBillyRose Foundation, The Southern Arts Federation, The Jay H. Perry Foundationand The Department of Cultural Affairs of the City of Atlanta, among others. In its sixyearhistory, ROOTS has produced major biennial performance festivals, receivingboth regional and national acclaim, and convened annual meetings of the full membership,with both artistic and administrative skills-sharing workshops. ROOTSpublishes a quarterly newsletter and serves as a resource for its constituents and as aliaison with other organizations and similar networks.A complete membership directory is available from Alternative ROOTS. ROOTS isa member of the Alliance for Cultural Democracy.mation on current art issues and activities aswell as such practical assistance as the ex.~osure of their work and ideas to an evermcreasingaudience (1,800 paid subscribersand an annual readership of over 100,000).ART PAPERS began in 1976 as the fourpage,typewritten newsletter of the AtlantaArt Workers Coalition and was distributed~o a membership of 60 working Atlanta art-IStS. The bimonthly tabloid format wasadopted in March 1978. A recent demogra-~~~ survey. indkates over half our readerssubscnbers are working artists. Wecover and have always covered the work ofwomen and minority artists as a matter ofcourse; nevertheless OUT primary concern isthe search for contemporary excellence'hA. tionistecurrent focus of our orga mza .recruitment of. . hi . and artIstscritics istonans, It _ourfrom the minority arts commum y f1983 proposal to the Atlanta Bureau adCultural Affairs is spec! if Ily directrca hetowards minority involvement bot adSd bscribers aneditorial contributors an as susupporters of ART PAPERS. 0 erART PAPERS is available for $1. 5 p( 6' sues) to 10-single copy; $8.00 per y~ar. IS artist,dividuals $10 00 to institutions. Any" f th arts comwriteror interested member 0 e . Itod b it -neteremunity is encourage to su m . in-ART PAPERS; inclusion, however, IScreasinglyselective.WICENTER FORCOMMUNITYTELEVISIONs ,1018 W. PeachtreeAtlanta, GA 30309(404) 874-8000Contact: Sally AleruegWe are a department within the local cablecompany. The center provides trainingand equipment, as well as a public accesschannel for community television producers.We operate five neighborhood studiosand our services/facilities are available to individualsand organizations within the Atlantacity limits.We produce programs on the arts, politics,community affairs, labor, and othertopics. These programs are available for dtstributionon other cable systems or toindividuals and groups. Please contact usfor information.GEORGE KINGIndependent artist/consultanton community cultural work491 Seminole Avenue NE #23Atlanta, GA 30307(404) 659-3084 or (404)522-2926Iworked with Inter-Action Trust, a Britishcommunity arts and resource organizationbased in London for seven years and latterlyin San Franicsco, Calfornia; independentlyas an artist-in-residence and/or media producer.Itrained originally as a filmmaker andproduced a series of films on communitycultural events in England. Subsequently, Ibecame involved with theater as a maker andperformer in the streets, schools, communitycenters, and even occasionally theaters.Later work involed making books, videotapes,gardens, events, etc., that grew out ofcoincident interests specific to the situation rwas working in. I now employ myself as aconsultant/practitioner of residencies incommunity cultural work and independentmedia producer with a particular interest indocumentation and propaganda.LIGHTFOOT FILMS,INC.441 Ridgewood Road, NEAtlanta, GA 30307(404) 377-4980Contact: Gayla JamisonLightfoot Films is a nonprofit productioncompany dedicated to producing films exploringsocial issues, especially those concerningthe Southeast. In 1983, we produced"Enough to Share: A Portrait of KoinoniaFarm," and are in production on adocumentary of Ybor City, a Latin communityin Tampa, Florida.NEIGHBORHOOD IW· -v,- • IARTS CENTER252 Georgia Avenue SWAtlanta, GA 30312(404) 525-6458Contact: Ebon DooleyThe Neighborhood Arts Center is a collectiveof producing artists sharing space in anold elementary school leased from the AtlantaBoard of Education. The organizationcame into being in Spring 1975 and underthe CETA program expanded to a staff of 36people. Subsequent cutbacks in CETA fundingclosed the center for a short time. Now reopenedwith an administrative staff of two,participating artists run workshops in dance,wrttinq, theater, photography, film & video,music, fabric arts, wood sculpture, silkscreen, and ceramics. The center providesworkshop and rehearsal space for thirteenresident artists and companies includingJomandi Productions (theater), the Afro-American Dance Company and AtlantaCreative Music Ensemble (jazzl: The collectivemembers of the Center collaborate onoccasional large scale events at the NeighborhoodArts Center.NEXUSw.608 Ralph McGill BoulevardAtlanta, GA 30312(404) 688-1970 administrationI .,. Iand gallery(404) 577-3579 press -(404) 688-2500 theaterContact: Louise Shaw Y ~Located in a 1911 elementary schoolbuilding near downtown Atlanta, Nexus,lnc., is a multi-facted organization dedicatedto nurturing and promoting all aspects ofcontemporary art. Among Nexus' servicesto both artists and the public are the NexusGallery, the Nexus Press, the Nexus Theaterand studios and sculpture facilities for over35 working artists. Nexus Gallery hours:Tuesday through Friday 11 :00 a.m. -6:00p.m.; open Thursday evenings to 9:00p.m. and Saturday 1:00 p.m.-5:00 p.m.Free and open to the public.Nexus Theater: Wednesday-Sundayevenings. Tickets: $3.00-$5.00.Nexus Press and artist studios open by appointment.PERFORMING ARTISTS ~FOR NUCLEAR ~DISARMAMENTP.A. N. D./ Atlanta521 Howard AvenueAtlanta, GA 30307(404) 377-4670Contact: Bill FleminggP.A.N .D. is an organization of visual andperforming artists: musicians, composers,actors, choreographers, puppeteers, videoartists, writers, technicians & administrators-in short all those who make the arts happen.We're committed to awakening in ourselvesand our audiences the instinct for survivalwhich is a key element in the movementtowards nuclear disarmament. We areloosely affiliated with four other nationalchapters and facilitate as well as produceperformances by local and touring companies.These events serve to give exposure tothis important work and, frequently, to raisefunds for our local sister organizations in themovement to halt nuclear power and weapons.STRANGE APPLESBox 5567Atlanta, GA 30307Contact: Edith KelmanStrange Apples is an organization of visualand performing artists. The works focuson collaboration, accessibility, and specialpopulations. Workshops, residencies, performances,and play environments are majorvehicles of communication.12 Cultural CorrespondenceCultural Correspondence 13

SOUTHEASTGEORGIAKY. MD. SOUTHEASTLENNY & LA BANANA124 W, College AvenueDecatur, GA 30030(404) 373-7175Contact: Rodger French or Toni ShifaloA clown team in the circus tradition, the verbose Auguste (Lenny Deluxe) and thetaciturn Whiteface (La Banana) exchange deep thoughts, slight insults, and wittyconceits with themselves and their audiences.We collaborate with other performing artists and musicians to produce grass rootsentertainment in a kaleidoscope of styles. We travel the East Coast, and venture toEurope every several years. We're members of Alternative R.O.O.T.S., a regionalorganization of Southern-based theatres. We're the founders of Atlanta JugglersAssocations, and are active in the International Jugglers Association. We are membersof Mime Atlanta, Inc.All these organizations are part of our process of networking with other artists. Weteach classes in clowning and juggling to spread the message that alternative methodsexist for both special entertainment and daily approach to living. We feel politicallymotivated and community oriented -we are an expression of the community weserve.See also Alternative R.O.O.T.S.EItse Witt and the Small Family OrchestraBRIAN SHERMANTHE AVAILABLERESOURCESBAND2122 Powell Lane #1Decatur, GA 30033(404) 325-7008Flobrms.:Music, Intermedia,Ce e rations, Scores.Happeningsth T~~ Available ResourcesBand works incu~tu;:c~~~Zrta~~. d~velo~ment of forms ofIC requITe no funding, no14 Cultural Correspondence• e..-_"----__'training, and no talent but which any groupor individual can use to create cultural~ndlor art experiences which are meanmg.ful,significant, entertaining, andenhghtening.We have issued "Life Is Better With a Cat"an. E: of music which demonstrates thepnnclple of availability (any groups cancreate a desueble musical'experiencewherever they are usmg' hw atever resources:~e there in the immediate environment). Iso. do celebrations, events rituals happenmg, "s, pIeces, etc. in an attempt toreshape the politics of everyday life, esp. inELISE WITT AND THESMALL FAMILYORCHESTRA124 W, College AvenueDecatur, Ga 30030(404) 373-7175Contact: Elise Witt1. Kind of work-musical concerts, performanceand outreach, formal concertsand streets shows, teaching (for musiciansand non-musicians}. The Small FamilyOrchestraplays music from their own SoutheasternUnited States culture and folk eelturesaround the world. We have just reoleased a new album with EMWorid Records,2. Kind of work we'd like to do-samewith more travel and more outreach. Iamvery happy with what I/we am/are doing,just hope to expand it.3. Identify community work for/withveryvaried, from fur coats to wheelchairstorags and feathers; city at large, homes forthe elderly, school children, handicapped,special interest groups, international gatherings,public concerts and special performances.4. How group formed -family tiesbran~h.ing out to extended family. Need and desreto play music.5. Looking for group or partner-alwayslooking for other musicians to trade skillsand songs. Also looking for someone 10help out with management skills,6. Association with specificpolilical~ours/issues-sometimes but not excluslVey,f t g Fund lorMainly for bene It c.onceprsrf'e "ng ArtistsSouthern Comrnunlty, e orrrufor Nuclear Disarmament, local groups tryingto raise money to survive.ki con-7 Hopes special interests, wor 109" 'Irtherditions-hope to spread this mUSICu h'reach more people particularly ones w.0. I've musIc.don't get much chance to enjoy I dContact more international groUPS anI to culture servespread music from cu tura 'C !ledas cultural exchange through ~~slc~ndowril_the folk music/music oHolks liVing '_ing today, keep folk music a\'we'ntern atlOnI___________ .::...::.:.::=::::::..- ~~a~lly~a~s~w~e~ll~a~s~loc:a~ll~y~, _-----\. nutionS Forinhospitable and unlike y IOS.1 'Iableis, h ever IS avalany given occasion, W 0 part01part of the band, The band began associology seminar. I whohaveWe work with everyday peep e. ·,nthe'nc1inatlonno particular interest ~r.1 ntly politicalarts. I believe my work IS mhere owerbecauseit explicitly encourages ~~orkiSment in realms of culture and. art . hiC al aod, I th than hlerarc ,Ihetherarchl~a ra ~r .. ' ns of authorlt~:dispenses With the mhlbllto d speCillc, II' orporate khave occasione Y me Id \'keto vJo rpolitical issues't'tndwoul'l10 0 I a. an arlts·more directly on political Issues asOtlIer.Don Baker & Frank Taylor in RoadsideTheater's Red Fox/Second Hangin'.ROADSIDE THEATREP,O, Box 743Whitesburg, KY 41858(606) 633-0108contact: Jeff HawkinsRoadside Theater is one of a handful ofrural, indigenous ensemble theaters in theUnited States. All of Roadside Theater'sperformers were raised in rural coalfields ofcentral Appalachia, and it is from theregion's indigenous theatrical heritage-themountains' storytelling, musical , andchurch traditions-that Roadside Theaterhas drawn the original style and content ofits performances. Roadside's repertory presentlyconsists of four original plays: "MountainTales," "Red Fox/Second Hangin',""Brother Jack," and "South of the Mountain."Roadside Theater tours year roundthroughout the South, as well as occasional-Iy to the Midwest and West. Roadside hasalso performed off-Broadway in New YorkCity and in the summer packs a tent into thecoal camps and farming communitiesaround its home. Roadside Theater's actor/storytellers provide audiences from withinand outside the region with the opportunityto focus on human drama and see that theconflicts, defeats, and yearnings of Ap-APPALSHOPBox 743306 Madison StreetWhitesburg, KY 41858(606) 633-0108contact: Donna PorterfieldAppalshop was established in 1969 as the Appalachian Film Workshop by thefederal Office of Economic Opportunity as part of the national program to trainminority young people to work in the film and television industry. For Appalachians,this meant training for jobs that could only be found in the urban centers outside theregion. Rather than leave their homes, the young artists of Appalshop made the comitmentto stay in the mountains and make use of their training to speak of their nativeculture.Appalshop Films has produced the nation's largest and most varied collection ofdocumentary films about Appalachia. These films attempt to capture the experienceof the region and its people, with their triumphs and their troubles, with an eye to boththe threat and the promise of the future.June Appal Recordings fills the need for a regional sound studio and recorddistribution company. June Appal (named after the old time fiddle tune) serves topreserve and distribute the music of older, traditional mountain musicians whom thenational labels regard as not commercial enough and to provide recording opportunitiesfor the region's younger musicians and songwriters.Roadside Theater's performers were raised in the region, and it is from the region'sindigenous theatrical heritage-the mountain's storytelling, musical, and churchtraditions-that Roadside Theater tours year round throughout the the South, as wellas occasionally to the Midwest and the West. Roadside has also performed Off-Broadway in New York, and in the summer packs a tent into the coal camps and farmingcommunities around its home.Mountain Photography Workshop teaches filmmaking and photography in theschools, produces slide tape shows for use in the classroom and communitymeetings, and for local cable and broadcast television, The workshop began whenseven photographers joined their efforts to produce a book and traveling exhibition,"Appalachia: A Self Portrait," in 1976,Headwaters, Appalshop's weekly half-hour television show, holds to thephilosophy of furnishing quality local programming about subjects of interest andfamiliarity to Appalachian people. Headwater's topics have ranged from the adjustmentproblems faced by local Vietnam veterans, to regional architecture, to womenin the coal industry, to portraits of Appalachian folk-artists.palachian people are of no less importanceand of no less consequence than those ofother people in other places. Each year theTheater gives more than 200 performancesand workshops. Roadside Theater also producesradio drama and children's film stripsCAROL BARTON5209 Wissioming RoadBethesda, MD 20816(301) 229-2015An individual visual artist, Ms. Bartonspecializes in the use of oils on Masonitepanels. Her ideas are drawn from both herwidespread travels in the United States andabroad, and from the experiences of everydaylife distilled through time and the Iimita-and is presently completing an adaptation of"Red Fox/Second Hangin'" for nationaltelevision.Roadside Theater is one branch of themedia collective, Appalshop. See also: Appalshcp.tions of "the artist's hand." Ms. Barton saysof her experience and her art, "Their specificpersonalities, their common qualities,and my ability or inability to capture them inpaint, provides topic enough for a lifetime ofhard work." Ms. Barton is a VisuallnformationSpecialist for the National Park Service.Her work has been shown Widely in Maryland,Washington, DC, and New York, andin Missouri, where she earned a B.F.A. inPainting from Washington University.Cultural Correspondence 15

SOUTHEAST MD. NC. s.c. TN. SOUTHEASTPETERAND i)STEVE JONES6809 Fairfax Road, Apt. B-3Bethesda, MD 20814(301) 657-2188We write and perform music dealing withworking people, social change, unions,peace, and other issues. Recentappearancesinclude Takoma Park Folk Festival, Workers'Education Local 189, Smithsonian Institution,striking nurses' picket lines. We aremembers of the Peoples Music Network.North CarolinaTHE SUN412 West Rosemary StreetChapel Hill, NC 27514contact: Sy Safransky, editorThe Sun: A Magazine of Ideas haspublished over 90 issues, focused on suchthemes as World Hunger, Nuclear Energy,Death, Malnutrition and Infant Formula,Survival, Shelter, the New Age, and, especially,Peace. There have been several interviewswith Ram Dass. Allen Ginsburg, RobertBly, Rosalie Bertell, Elizabeth Kubler-Ross, Gary Snyer, Pir Vtleyet Khan, DavidSpangler, Buckminster Fuller, and WavyGravy, among others, have contributed.The focus is on the spiritual; the circulationis 10,000. The Sun publishes poetry, fiction,articles, photographs- "anything thatmakes sense and enriches our commonspace." Back issues are available for $2.Subscriptions: introductory, 1j2 year $10;one year $20; two years $37; three years$50; five years $75; ten years $150; lifetime$500.AMUSE NEWS124 Murdoch RoadHillsborough, NC 27278contact: Doug Guild, PresidentThe Artists and Musicians United for aSafe Environment is a three year old nonprofitorganization comprised of artists,musicians, and other environmental! energyactivists. By sponsoring concerts andother fund-raising events, AMUSE raisesmoney to support a community-basedgrants program to which grass-rootsorgani~ations submit proposals for publiceducation, networking, or projects aimed atenvironmental and renewable energyrelated issues.Last year, AMUSE sponsored a numberof events in the organization's home-state ofNorth Carolina. Among these were: abenefit for safe energy in AsheVille; the EnoEnergY/Arts Festival in Durham; two concertsprior to rate-hike hearings, one inTALKIN' UNIONBox 5349Takoma Park, MD 20912Contact: Saul Schniderman,EditorTalkin' Union is a publication presentingthe music, folklore and history of today's labormovement. Its purpose is to publicizeand popularize working class culture forunions to use as an organizing and unionbuilding too. Talkin' Union serves the labormovement by providing a list of cultural resourceswhich tend to educate, agitate andorganize the reader. Published 3 times ayear, the magazine features stories, songs,poems, photos and cartoons, all homemadeby America's greatest resource-itsworking people. $6.50peryear; back issuesare $1.50 each.NOT AVAILABLECOMICS109 Ramblewood #32Raleigh NC 27609Contact: Matt FeazellI produce minicomics that emphasizeentertainment and content. Itry to appeal to"the general public," in that everyone whocan read can understand my work; also Iwork from the standpoint of an artist determinedto advance his medium. My "community"would be the network of minicomics artistsscattered across the country and the localcartonistsand comics collectors scene. Idomost of my rninicomics work at home or incafes and do all my printing at photo-eopyshops. I need readers, retailers, and othercartoonists willingto exchange their own self-Wilmington and one in Raleigh. These projectswere sponsored in conjunction withlocal groups concerned with safe energyand public education.Depending on needs and contributions inskills and labor, the proceeds from anyonebenefit are divided among the organizationsworking on the event.This year's events have included a benefitwith Ram Dass in Asheville to help sponsorthe ACT '82 house at the 1982 World's Fairin Knoxville, Tennessee. The ACT '82house displays and provides educationalmaterials on appropriate communitytechnology, including a passive solar compostin.gtoilet, a gray-water trickle, and anorganic garden.AMUSE is always looking for active invo~vementwith the public. Interested per-~on.s~hould send names of musical groups,mdl~lduals, art gatherings, potential sitesand Ideas to Doug Guild, Presidentpublished comics for mine. dIwould like to see a world where art al~culture are respected and supported loca ~.A 1V station. . ewspaperlnIn every town, andevery neighborhoo d ,an d wnite rs,artists,anperfomers living and rnaki109 art imthe sameplace they grew up in.MARCIA PLEVIN '-.~PRODUCTIONS .lA Dance Company --,511 North Cherry StreetWinston-Salem, NC 27101 \(919) 748-8172Contact: Lydia S. Stewart. . d' ctor and foun-Marcia Plevin, artistic Ire PP) describeSder of the dance company (M 'd makesherself as a cultural worker ~tnhthe poll-. tr vement WI hpieces cannec 109 mo 81) d altwitht etics of the day. Fishkill (19 e[. NewS:. N rth Caro Ina.acid rain problems In 0 b ut inforrna·Morning Edition (1982) was;8~) dealt withtion overload. SurvIVors (1 t belong·the affirmation. f h man contac , 510 u [holocau .ing, andcanng,.afteranucearnledJisaSO[Plevin's latest piece (as yet u~ I war andabout the aftermath of a nu~ €harf.ber artistb ti n Wit Iwas made in colla ora 10 p triciaCaLouise Todd Cope and dancer asey Strong.AN ART TEACHER INEVERY SCHOOL?c/o Whitehall Publishers518 Old Friars RoadColumbia, South Carolina29210Contact: Dr. Thomas A.Hatfield (author)A new text by Thomas A. Hatfield, ArtConsultant for the South Carolina Departmentof Education, An Art Teacher in EverySchoof? functions as a blueprint for addressingthe problems that contemporary art educatorsface as they seek to make the artsmore central to the educational process, Dr,Hatfield provides a solid, insightful look athow schools and school systems are organized,how administrators function, andwhere art programs and major educationalgoals interface. He also gives specific directionsand strategies (not esoteric theories) toemploy in the quest for educational legitimacy;a unique and practical approach toarts-in -education.THE SOUTHERNLIBERTARIANMESSENGERRt. 10 Box 52AFlorence, s.c. 29501Contact: John T. Harllee, editor"A newspaper is not just for reporting thenews as it is, but to make people mad enoughto do something about it." - Mark Twain.This quotation appears on the SouthernLibertarian Messenger's letterhead. EditorJohn Harllee answers our directory questions:"Description: monthly. Statement of purpose:see Mark Twain quote, above. Kind ofwork: sloppy. Would prefer: neat. Identifycommunity: not a community, but individuals-wedon't necessarily want to be partof a community; we are individualist. Howwas group formed: I don't know, I just inheritedit when everyone else lost enthusiasm.Why work alone: cannot get help.Looking for group or partner: depends, whatdid you have in mind? Specific politicalgroups/issues: yes. Hopes: survival. Specialinterests: Southern nationalism, education,history, humor, etc. Working conditions:deplorable. "A message from the South Carolina libertarianParty: "Cleanliness is next to godliness. .. But you can't buy soap on Sunday inSouth Carolina!"Subscriptions: $5 for third class mailanywhere in the U.S.; $6 for first class mail,Canada or Mexico; $8 for overseas, by surfacemail.CARPETBAG THEATRE, INC.1936 Pospeel PlaceKnoxville, TN 37915(615) 525-6606Contact: Linda Parris-Bailey, Artistic DirectorThe Carpetbag Theatre, Inc., is a community-based professional theatre companydedicated to the production of new works. The Ensemble Company develops scriptsout of its original research projects through collaboration and improvisation amongmembers.Major productions i.nclude Cric~Cr!.c!, a chi~dren's theatre produc~ion based on acollection of folk stones from Afnca, the Caribbean and the Americas, and DarkCowgirls and Prairie Queens, a full length theatre piece detailing the lives of littleknown Black women among the first settlers and pioneers of the American West, aproduction designed to promote historical and cultural awareness through drama.Outreach programs include: the Creative Approaches to the Problem of Aging workshop,for senior citizens; the Collaborative Workshop for college and university studentsand other adult organizations; and a Reader's Theatre Workshop.Established in 1970, CST was the 1982 recipient of the Governor of Tennessee'sSpecial Appreciation Award for the Arts. CST is also a primary force behind the ArthurStreet Fire Station project to establish a community arts and humanities centerand cable television station in the Black historic district of Mechanicsville, in Knoxville,HIGHLANDER CENTERRoute 3, Box 370New Market, TN 37820(615) 933-3443 Office(615) 933-9002Since 1932 Highlander has maintained a two-fold interest in the cultural expressionsof the people with whom the school has worked: coal miners, farmers,bugwood cutters, millhands, union members, blacks, and Appalachians. We havelearned that music (particularly singing), stories, poems, writing, and theatre can playa crucial supportive role in social movements or in efforts to deal with communityissues and problems. Furthermore, people's indigenous cultural expression issomething of value in itself-part of any community's heritage which can givestrength, a sense of identity, and confidence.Highlander has worked mainly with grassroots people in the South. Many naturallypossess huge stores of traditional religious songs, old ballads, and folk-derivedmusic-e-bluegress and country, gospel, rhythm and blues, and rock and roll. Oftenpeople use this cultural knowledge to create new songs, poems, and stories which tellabout what is important, wrong and hurtful, right, humorous or joyful in their ownlives at the moment.GUY AND CANDIE CARAWANRFD 3, Box 370New Market, TN 37820(615) 933-7647The Carawans come from the hills of Tennessee. Guy and Candie have beenworking in Appalachia and the South for twenty years, bringing people together toexperience singing, music, dancing, and stories. Guy plays the hammer dulcimer,guitar, banjo, and penny whistle. Candie lends beautiful vocal harmony. Their programsinclude children's songs, love songs, Appalachian and Irish dance music,spirituals and stories from the South Carolina sea islands, coal mining songs, andsongs about many contemporary concerns. They bring us the same music they haveshared on the picket lines; in the coal fields of Kentucky, Tennessee, Virginia andWest Virginia; with blacks and whites together in the Southern civil rights movement;in the union halls of Southern textile workers; and in the churches, livingrooms andback porches of the singing folk in communities all over the South.ASide from their performances and co-directing the cultural programs at theHighlander Center they have put out many documentary recordings of regionalculture, and they have written several books.See also Highlander Center.16 Cultural CorrespondenceCultural Correspondence 17

\SOUTHEAST VA. W.V. WASH., D.C.CAUCUS ON SOCIAL THEORY AND ART EDUCATIONAffiliate of the National Art Education AssociationNewsletter: James Madison UniversityArt DepartmentHarrisonburg, VA 22807NY Contact:Elleda KatanTeachers CollegeColumbia University, Box 78NYC, NY 10027(212) 678-3362Coordinator:,... ,..,-,~..~~"1'~Nancy JohnsonArt DepartmentMarshall UniversityHuntington, WVA 25701(304) 696-6656Description/Statement of Purpose: Founded in 1979, we are now an affiliate of theNational Art Education Association. We are made up of public school teachers, museumeducators, art education consultants, county supervisors, university professors,students, underemployed and unemployed art educators. We are from the UnitedStates, Canada, West Germany, and South Africa. A number of us are members ofP.A,D.D., and have worked with the Alliance for Cultural Democracy and the peoplewho publish Art and Artists. We have approximately seventy-five dues-payingmembers.We share no single ideology, research approach, or teaching method, but we do upholda common vision: the development in theory and practice of an art educationwhich is socially relevent, and, in the final analysis, humanizing in its effect on the largersociety. We seek to make cultural literacy, cultural democracy, and social humanismcornerstones of contemporary art education.What kind of work do we do? We work as a group at the annual National Art EducationAssociation and as individuals at our state and local conferences and meetings. Wepresent. panels, workshops, discussion groups on cultural democracy, socially relevantart curricula, etc., for art educators. The public for art educators is most, public schoolstudents, but art education is beginning to define its public as all citizens, not just schoolstudents.E~ch year we publish three News~etters ~nd a Bulletin with articles, panels, bibliogrephies,etc. We seek to network WIthsocially progressive art groups, whom we alsoconsider art educators.New World TheaterRennee McClaire & Raymond Roach in Everyday Theater's All Rise.18 Cultural CorrespondenceTHE AFRICANHERITAGECENTER W· 1.'c/o Landsburgh's Cultural I .. ICenter420 Seventh Street, NWWashington, DC 20004(202) 628-9528Contact:DirectorMelvin Deal, ArtisticIiBegun in 1960 as the African HeritageDancers and Drummers, under the guidanceof artistic director Melvin Deal, the AfricanHeritage Center has become one of thecountry's outstanding focal points for theteaching and production of African and Af·rican American performing arts. The Centerconducts ongoing adult-level classes indance, music and performing techniquewith many of the instructors being of directWest African or Afro-Caribbean heritage.The Center is widely involved in arts-in-educationprograms throughout the Washingtonmetropolitan area, and offers free classeseach year to large numbers of childrenand young people through its Genesis program.It co-produces frequently with otherminority performing arts organizations inthe Mid-Atlantic region, and the AfricanHeritage Dancers and Drummers havetoured in many parts of the United Statesand to festivals in Haiti and Mexico.NEW WORLD THEATERCOMPANY ~~Route 3, Box 191Berkeley Springs, WVA 25411(304) 258-3302Contact: J.W. Rone or Matthew KleinAlways deeply committed to the conceptN W rid Theaterof community arts, ew.. ~ . 1976asCompany began in West Vlrglnta In .an Appalachian story-theater, later movingto Baltimore where it became the comp;n yin residence' at the Baltimore Theatre TO'h. with thecomject.In Baltimore the s annq formunity . was direct, . WIt . h on-going classes5young people supp Iemen t' 109performance Id learnfor the public. "As soon as we ~ou unicysomething... juggling, rope walklOg"n turncling ... we taught it to the kids; th: Y I nd ontaught it to their peers in the par s athe streets." . "a treeNow home again on a West Vlrg:~h thefarm, New World Theater wor~s niql1econcept of magic in the theater, 10 a Ud thecombination of ritual, ~,aude.ville ~nrecenttraditional "magic show. T~elr rJos tinHlu'production, "A Day in the Llfe. o toU~oththesicn," transforms the present In udiencepast and the future, bringing the. ~ ants incommumty..Into the pIayas partlCIPthe ongoing theater of life.WASHINGTON, D.C. SOUTHEA~ALLIANCE FOR CULTURAL DEMOCRACYP.O. Box 50137Washington, D.C. 20004"Art is not something which can be ladled out from a glorified soup kitchen ... Thereshould be no barriers between the people and the artists, for every (person) is potentiallyan artist, liable to be inspired by the sight of another artist working in a way inwhich (they) would never be inspired by the divorced product of that work." HerbertRead, The Grass Root of Art, 1955CULTURAL DEMOCRACY means that each person and community has the rightto a culture or cultures of its choice; that cultural values and policies should be open topublic debate; that government does not have the right to favor one culture aboveanother-any more than it has the right to favor one religion above another. We havea national cultural policy that in action supports, "military over human needs;economic over cultural priorities." (Don Adams, ALLIANCE, VIIth annual conference,October, 1983).The Alliance for Cultural Democracy is a nationwide, nonprofit organization ofcommunity-based arts programs and community cultural workers. We use a broaddefinition of community, to include communities of affinity as well as location; and bycultural work we mean any form of community expression, from our murals to ourschools. The Alliance's more than ZOO members are visual artists, theater workers,craft workers, media artists, dancers, arts administrators, musicians, writers, andcommunity organizers in 37 states in urban, suburban, and rural settings.The Alliance for Cutural Democracy was begun in 1976 as the Neighborhood ArtsProgram National Organizing Committee. NAPNOC's founding purpose was to endthe isolation of Neighborhood arts workers and to give them a voice in culturalpolitics. In 1983 the organization's name was changed to emphasize what hasbecome the motivating politic behind the Alliance's work: cultural democracy.The Alliance grew under the devoted co-direction of Don Adams & ArleneGoldbard (see seperate listing) from 1979-83. The Alliance is now a membershipgoverned organization. As a member you will participate in the work of building acommunity and progressive arts movement, make contact with other culturalworkers, and advance the project of cultural democracy; you will be kept informed ofthe Alliance's internal business-board meetings and actions, financial and other progressreports; and will be invited to attend the Alliance's Annual Conference andMeeting, and to vote in Board elections. You will also receive a years subscription tothe Alliance's newsletter, Cultural Democracy. Cultural Democracy keeps us abreastof one another's work and publishes reports and analyses of cultural policy here andabroad.Alliance for Cultural Democracy projects for 1984 include:OrganiZing a symposium on advancing the use of criticism within the creative processof community cultural work.Drafting a proposal for a direct national cultural policy that would include the principleand politic of cultural democracy.Membership, including subscription to C.D.: Individual $Z5/year, Organization$30 & up/year.Subscription to C.D. only: Individual $15/year, Organization $25/year.Following is a list of the Regional Membership Coordinators for the Alliance; theymay be contacted to join, or for more information about activities and membership inyour region (also, all of them have helped in the coordination of this directory):ANARCHISTASSOCIATION OFAMERICABox 840Washington, D.C. 20044The Anarchist Association of the Americasis a regionally based mutual aid community.What this means is that individual groupslend aid and services to each other, eachproviding whatever special resources theycan. One example is the way individualgroups write for and distribute "Emancipation."In this way, a group which may nothave the ability to fund or operate their ownpublication now is part of one; while thequality of this publication increases as doesdistribution and variety of articles.Collectively the regions generate projectswhich all groups can participate in together.Such was the Symposium and Conferencelast may, and the two planned Anarchy Dayfestivals (one in Philly on May 1st and one inD.C. in September).The Mid-Atlantic region also operates aproject fund which we hope will act as asource of capital for anarchist projects. Ifyou're an interested group or individual,please write to us.MINNESOTA/MIDWESTCatherine JordanWARM414 1st AvenueNo. Minneapolis, MN 55401(612) 340-9462CALIFORNIATemporary: Ken LarsenRural Arts ServicesBox 765Mendocino, CA 95460QUEBECGlenn HilkeP.A.N.D. International43 Rue Street, Jean BatisteBaie St. Paul, QuebecCANADA GOAIBOFLORIDATraci Ardren1243 2nd StreetSarasota, FL 33577(813) 955-4960NEW ENGLANDDebra WiseUnderground Railway Theater36 Howard St.Cambridge, MA 02139(617) 497-6136NEW YORKAbigail Norman, Media Network315 W. 21st Street, #2New York, NY 10011DC./MARYLAND/VIRGINIAMartin Peterseltac/o lansburgh's Center420 Seventh Street, NWWashington, D.C. 20004(202) 742-2180SOUTHEASTMichael Perri and GeorgeArt PapersP.O. Box 77348Atlanta, GA 30357(404) 385-1273BRIGHT MORNINGSTAR5334 42nd Place, NWWashington, D.C. 20015(202) 686-9479contact: Ken GilesKingA troupe of six women and mensingers,songwriters, and storytellers. Wepresent an eclectic blend of folk and countrymusic, blues and jazz, laced with dancingand theatrical highjinks. We sing songsabout what's important in our lives with awonderful variety of instrumentation.Cultural Correspondence 19

SOUTHEAST WASHINGTON, D.C. WASHINGTON, D.C. SOUTHEASTBRITISH AMERICAN ARTS ASSOCIATION/U.S.178 Columbia Road, NWWashington, D.C. 20009(202) 745-7748contact: Nan S. Levinson, executive directorThe British American Arts Association is an advocate for artists and for internationalcultural activity. Its purpose is to make the process of exchange-of artists andother cultural workers, ideas, and information-clearer and easier. It provides information,advice, advocacy and technical assistance for professional artists, administrators,and sponsors working in all disciplines throughout both America andBritain.Only some of our work is directly concerned with progressive art work or arts activism,but all ofit is aimed toward empowering the artist and encouraging a mutuallyproductiverelationship between artist and society. We also believe that the arts are acrucial part of internationalism and hope that our work will help bring recognition ofthis fact. Examples of the projects we are planning are a two-year examination of therole of the cultural animateur in the community and a conference on the relationshipof the arts to social change. All activities involve Britain and America.Our information and referral services are available, free-of-charge, to anyone. Participationin our projects varies as is (we hope) appropriate. The organization began inEngland in 1979 in answer to the need of American artists abroad. The Americanorganization began in 1982 in order to make our services more effective and morewidely available. The communities with which we work vary from activity to activity,but we are open to suggestions and enjoy working in cooperationtions.with other organiza-As for our hopes, first, it would be nice ifitwere easier to find support for this kind ofwork. Second, we would like a more widespread acknowledgement of the value ofcultural democracy, the ways in which it can be encouraged internationally and itsrole in the creative life of a country.'W..\. ·CENTRO DE ARTECommunity Cultural CenterI I1470 IrvingStreet, NW 'lWashington, DC 20010(202) 483-5825Centro de Arte is a non-profit Latino culturalcommunity center in the Adams Morganneighborhood in Washington, DC. Itsgallery, Galleria Inti, is run by local artists asan. alternative space in the Adams MorganneIghborhood. Galena Inti's commitment isto a Third World perspective which celebratesthe bilingual and multi-cultural flourishingsin its community.COMMUNITY JOBS1520 Sixteenth St. N.W.Washington, D.C. 20036(202) 387-7702contact: John Bancroft~ommunity Jobs is a monthly tabloidwhich fe~tures job and intern openings withnonprofit community groups across thecountry. In addition to these extensive lists"" also run feature articles on topics concer:nlng the management and operation ofcommunity groups and a regular "Re-~urces" section that describes new publicationsand forthcoming events of interest toour readership.20 Cultural CorrespondenceCULTURALDEMOCRACYclo Alliance For CulturalDemocracyP.O. Box 50137Washington, D.C. 20004Cultural Democracy is the newsletter andpublication of the Alliance for CulturalDemocracy. It is one of our best networkingtools. Through it we keep abreast of onean others work, and read reports andan~lyses of cultural projects and culturalpohc.y here and abroad. For further informatlon , see Alliance for CulturalDemocracy.THE D.C. YOUTHENSEMBLEclo Lansburgh's Cultural Center420 Seventh Street, NW ~Washington, DC 20004•(2021667-4973 ....... -Co~t~ct: Carol W. Foster, "ArtistiCDirector ,,The p.C. Youth Ensemble is a young~eople s performing company composed ofan~e students aged 12 to 18 who It dpubhc and . a enW hi pnvate schools throughout thea~ mgton metropolitan area. Also participatmgare youn d III g a u ts attending regionalco eges and/or in the regional work force.CAFAM I1I/MIYAGALLERYclo Lansburgh's Cultural Center420 Seventh Street, NWWashington, DC 20004(202) 347-6076Contact: Vemard Gray,DirectorBegun in 1973 as CAFAMIll,Inc.,anonprofitorganization dedicated to documentationof, encouraging economic developmentin, advocating greater support of andinforming/networking relations among in·dividuals and groups involved in culturalexpression,the organization has provided theWashington metropolitan area with a widevariety of community oriented projects.Among its major programs have been theFides House Communications Workshop(1971·7~, a traning project for inner-cityyouth; Shaw Community DocumentationProject (1975-76), an officiallydesignatedAmerican Bicentennial Administration projectto teach high school students historicalresearch methodology and media presentation;the Miya Gallery (l976-present), anAfrican American visual arts gallery; TheBlock Arts Reuiew/Palaura (1978-present), an irregularly published arts ne~paperwidely circulated in the Mid-Atlanticregion; and CA-FAM III/Teleworks(1982·present) a cultural expression project utI!·izing co~puter and telecommunicationstechnologies.Palvra cover;Malinda Shaw.ff traininginThe D.C. Youth Ensemble 0 ers eopledance, voice, and drama t~ y~~n;JalJytofrom all backgrounds, seekmg p per'make training, as well a~ the c~:r:;~ notformances widely available . g arts,, . h h erforrnmusually involved Wit t e p. 1980The Ensemble was founded In .1f8j~.THE DANCE EXCHANGEc/o Lansburgh's Cultural '-. "..Center420 Seventh Street, NW - ........Washington, DC 20004 "(202) 783-8900 "Contact: Liz Lerman, Artistic DirectorPatricia Vroom, Administrative DirectorThe uniqueness of The Dance Exchangeis found in its name- "exchange" -betweenthe trained professional dancer and the novice;the elderly and the young; the artistand the audience; the student and theteacher; the cultural institution and the community.These interactions make TheDance Exchange an important, vital,developing community arts organizationboth for Washington and the nation. In additionto its well known programs for workwith senior citizens and other special constituencies,The Dance Exchange has two performancecompanies, The Dance ExchangePerformance Company of young professionalmodern dancers, and the Dancers ofthe Third Age, a company of dancers whoages range from 60 to 86. The Dance Exchangewas founded as a non-profit, educationalorganization in 1976. By reachingpeople where they work and live, TheDance Exchange provides them with an opportunityto experience and participate indance in all its variety.The Dance Exchange is a member of TheAlliance for Cultural Democracy.JUETIE JOHNSONDAY4430 20th Street, NEWashington, D.C. 20018Juette Day is a painter. She holds aMasters Degree in Fine Arts from Ohio StateUniversity and did her work in the field ofpainting, sculpture and Art History. She ispresently a Docent at the Corcoran Galleryof Art and was formerly Assistant Professorat D.C. Teachers College and The Universityof the District of Columbia.Juette's work is abstract, semi-abstract,and sometimes naturalistic. There is areligious flavor which permeates her work.She loves church structures and rendersthem in each of the afore mentioned styles.Her journey through the historical developmentsof Art through the years taught her toappreciate styles, trends, and the creativeendeavor of artists from primitive times tothe present. She hopes, therefore, to havethe viewer find an eclectic quality in herpaintings.She is listed in the works of Afro-American Artists published by the BostonPublic Library, "Black Dimensions in ContemporaryAmerican Art," edited by J. EdwardAtkinson and numerous Smithsonianpublications.EVERYDAY THEATER3437 Mt. Pleasant Street NWWashington, DC 20010(202) 387-1653Contact: Susie 5011 (202)462-4242Everyday Theater takes its name and inspirationfrom a poem by Bertolt Brecht inwhich he tells us to look to the real-lite actorson the street-the ones who have to get themessage across in their everyday life. Sinceour opening season in 1979, we have continuedobserving everyday theater and interviewingthe people who live these dramasas source material for developing and creatingstrong characters and scenarios to formoriginal musical plays. We have created 5full-length plays about issues that are of concernto us and the communities we serve,primarily low-income Washingtonians. Ourfirst three plays examined housing displace--ment trends in Washington, DC. Our twomost recent plays delved into the realities ofviolent crime on urban life. In addition tocreating researched plays, we performworks by new and established playwrights.We have produced plays by our companyplaywrights Nicki Burton and Henry Hubben.We are currently rehearsing a spaceage version of A Man's a Man, by BertoltBrecht.Cultural Correspondence 21

SOUTHEASTWASHINGTON, D.C.EVERYONEUNDERSTANDS~~FREEDOMRapid DeploymentTheater Forcesc/o Chris Hornig/NancyGarruba2707 Adams Mill Road, NW#404Washington, DC 20009(202) 667-5049gEVERYONE UNDERSTANDS FREE-DOM is a video documentary of a creativeprotest performance done in response tohuman rights certification for EI Salvador inJuly 1982. For more information, see NancyGarruba.WILLIAM 0_ FLOODNo available addresscan be reached through theAlliance for CulturalDemocracy, see separatelisting.A community development specialist andanimateur with a special interest in culturalgroups and organizations. Also a researcherand specialist in cultural animation.FONDO DEL SOLVISUAL ART ANDMEDIA CENTER2122 R Street, NWWashington, DC(202) 483-2777Contact: Mark Zuver orRebecca CrumlishFondo Del Sol VisualArtand Media Centeris a non-profit arts organization dedicatedto presenting, promoting and preservingthe cultures of the Americas.The center, based in Washington, DC,presents:• Exhibitions of contemporarycraftsmen of the Americas;artists and• Special events such as festivals lectures,educations programs and p~rformanceart programs;. •. ~ideotapes documenting the work ofindividual artists and community culturalevents;• !raveling exhibitions for museums ed-~cattonal institutions and other orga~iza~tion~ .reflecting the broad range of culturaltraditions of the Americas.. Fond? del Sol serves local, national andinternational audiences. The activities of thecente.~pr?mote a greater appreciation of theco~tn unon of diverse cultural and ethnichNentaWges to the rich cultural synthesis of theew arid.NANCY GARRUBAStudio: 2 Frederick Douglass Court, NEWashington, DC 20002 (202) 544-1900Home: 2707 Adams Mill Rd. NW #404Washington, D.C. 20009(202) 667-5049I have worked in various media: artist's books, performance, Video, and lnstallaton.I make a living through my buslness-e-Nancy Garruba, Book Design and Binding-whichI have been building for the past three years. I design and fabricatepresentation formats (boxes, books, portfolios) for photographers and graphic artists;my formal training is as a fine binder. As an artist, however, Ihave travelled progressivelyfartherandfarther away from the expensive, highly-wrought one-of-a-kinditem. Recent works include:EVERYONE UNDERSTANDS FREEDOM, the title of a performance eventandaccompanying video tape. The performance was staged as a protest against U.S.military aid to EISalvador and took place July 27, 1982. It was a collaboration betweenTeatro Nuestro (community theatre group) and the D. C. chapter of the Committee inSolidarity wtih the People of El Salvador. Actors dressed as Salvadoran soldiersharassed and ultimately abducted two (actor) office workers in downtownWashington lunchtime areas. The scenario was enacted five times at five differentlocations. Later in the day a mass execution was staged in front of the White House.Footage of the staged kidnappings and actual violent police intervention wascombin,~ed with interviews with observers to the event creating a unique "docudrama.NOT ALTOGETHER TRUE NOT ALTOGETHER FALSE, an artist's book Ianartist's checkbook to be exact) that details in epigrams a woman artist's attempts tomake money cleverly and spend it compassionately in an exploitative society. 22pp.,offset, $4, available from studio address above.Iam eager for more collaborative projects, and am especially interested in doin.gwork around Central American issues and, speaking in the long term, around anti-Communist hysteria.Artists in Washington have begun to form a group for work on Central American. Issues. We are stillvery young but can report plans for a day of poetry and educa fI~n,Iseminars on Central America, and a poster project around the same issues to begmtochange the scrubbed-clean look of Washington. Anyone interested is encouraged tocall and arrange to swap ideas.'WIGLEN ECHO PARK •••Glen MacArthur Echo, Boulevard Maryland 20812 ••(301) 492-6282 y,Glen Echo Park is administered by theNational Park Service, Washington, D.C.Metropolitan area.A cultural/recreational park, Glen Echooffers four sessions of classes taught by over100 area artists and craftspersons. Sixresidency studio spaces house Woodworking,Photography, Dance, Drama, Ceramics,and Sculpture departments. Agallery shows the work of the artists, and isopen year-round, 7 days per week. Concerts,demonstrations, workshops, andfestivals are held on Sundays during thewarm months as part of the ChautauguaSummer Season. A series of folk, square,and ballroom dances are also held duringthe summer months in the SpanishBallroom.Glen Echo began in 1891 as a NationalChautaugua Assembly, a center "To promoteliberal and practical education,especially among the masses of the people;to teach the sciences, arts, languages, andliterature ... "By 1900, Glen Echo hadFrom Fondo del Sol's "Roots & Visions"exhibition. "Auto de Carrera" by LarryFuentes.WASHINGTON, D.C. SOUTHEASTbecome an amusement park which servedthe Washington area until 1967. Currentstudio/cultural programs are housed in theremnants of the amusement park buildings-mostof which are in an art deco style."Not only are my feelings about the parkwarm ones bee use of the artistic and personalgrowth I have achieved here, thanksto the other artists and the overall atmosphereof this place, but they are warmbecause of the sense of family history in thepark. Iknow that this history is not unique tome and my family but is part of most Washingtonfamilies." Henry Hirsch; Instructor,Photoworks Dept.LIBRARY THEATRE ~!PRODUCTIONSc/o Lansburgh's Cultural Center420 Seventh Street, NWWashington, DC 20004(202) 737-4800Contact: Cherry Adler,Executive DirectorFounded in 1979 as a theatrical readingmotivation program for children, LibraryTheatre is a non-profit organization creatingeducational programs for many differentconstituencies of children and adults.Making use of the media and the performingarts as tools to meet basic educational needsranging from literacy to nutrition to respectfor the elderly, Library Theatre directlyreaches more than 100,000 children andadults in the region of Washington, DC,Maryland, and Northern Virginia each year.Library Theatre is currently focused on theexpansion of its audiences among inner citychildren and older persons through thewider use of media programming.LIVING STAGETHEATRE CO.6th & Maine Avenues, S.W.Washington, DC 20024(202) 554-9066Contact: John GillART IS NOT A MIRROR, BUT AHAMMER/IT DOES NOT REFLECT, ITSHAPES!Since it's inception 17 years ago, the LivingStage Theatre has been the community ventureof Arena Stage. The thrust of its work isto actively encourage the artistry of its audiencesby creating work whose contentarises from the terrors, anguishes, ecstasies,loves and dreams of its audiencethecommunity. It believes in the perfectabilityof the human being and reveres thecreative genius of the young. Living Stage'saudiences consist of children, teens, andadults who have physical and mental disabilities.Although the company improvises onthe themes of its audiences, it has alsocreated over 40 pieces for different ages thatexpress the concerns of humankind. TheLfvtng Stage script consists of over 900poems and quotes by children and adultsandover 800 songs that are used improvlsationallyto make social comments on theemotional lives of the characters in thescenes. The company has created a newpiece on Nuclear Terror for young people,and also THINK ABOUT THE CHILDREN,a full-length piece that deals with thebrutalization of children at the hands of uncaringadults. Performances are providedfree of charge to all community groupsthroughout the season.THE POEMTHE SONGTHE PICTUREIS ONLY WATER DRAWN FROM THEWELL OF THE PEOPLEAND IT SHOULD BE GIVEN BACKTO THEMIN A CUP OF BEAUTYSO THAT THEY MAY DRINKAND IN DRINKINGUNDERSTAND THEMSELVES- Frederico Garcia LorcaLUCI MURPHY1449 Oak Street NW #1Washington, D.C. 20010(202) 234-8840Luct Murphy is a singer, songleader, andcommunity organizer who has mastered awide range of musical forms-spirituals,blues, jazz, songs from Latin America andthe Caribbean. She has traveled to Cuba,Boriquen, Brazil, Lebanon, and China. Shesings in English, Spanish, French, Portuguese,Haitian Creole, Swahili, Zulu,Arabic, and Hebrew. Her audience includesthe very young and the very old. She isespecially good at bringing diverse communitiestogether. Besides sharing her ownmusic she produces and promotes politicalcultural events with other artists to benefitthe anti-racist and anti-imperialist groups.22 Cultural CorrespondenceCultural Correspondence 23

SOUTHEASTWASHINGTON, D.C. WASHINGTON, D.C.SOUTHEAST~§~a~ ,(2021 797-8911 Contact: Betty RubinsteinThe National Federation of CommunityBroadcasters is a membership organization ofsome 70 community-based broadcastgroups, and over 100 affiliated public radiostations and producers. NFCB's member stationsare united in their commitment to useradio as an activist resource for communitydevelopment and social justice; to diversity inmusic, cultural and information programming;to involvement of people traditionallyexcluded from the mass media; and to communityparticipation through accessible stationgovernance and extensive opportunitiesfor public participation in all aspects of operationsand programming.NFCB represents these stations in publicpolicy development at the national level, providesa wide range of practical services, anddistributes programs to all noncommercialstations. NFCB is the publisher of the monthlyNFCB Newsleuer, of the NFCB LegalHandbook and of AudioCrajt: An Introductionto the Tools and Techniques of AudioProduction, a self-teaching manual for audioartists. NFCB also publishes SoundChoice aperiodic selection of outstanding progra~sfor public radio, and The Producers'Classi/ieds, a quarterly listing in which producersmay publicize their own work anddistribute it through NFCB.THE NUBIAN LEAGUE, INC.c/o Lansburgh's Cultural Center420 Seventh Street, NWWashington, DC 20004(2021 628-9868Contact: Ayubu B. Ramau,Executive Director,..,.... "...I ....~"The Nubian League, Inc., is a non-profit,cultural arts organization which offers liveperformances and arts-in-education servicesto persons of all ages and ethnic backgrounds.The Nubian League was establishedin 1980 to promote the Use of Africanand African American literature in the performingarts. To that purpose, the Leaguehas develo~ed several performance pror~msfeatunng vocal and instrumental mu-SIC, storytelling/drama, and folkdance. Todate, the ~eague's efforts to spread the useof the Afncan/ African American folklore itresearches has reached seven states throughperfor~ances, workshops and training progra~:m schools, cultural centers, and nontraditionalperforming spaces. The NubianTHE OPEN STUDIO FOR THE PERFORMER1512 Corcoran St., NW. #42Washington, D.C. 20009(2021462-7068 contact: Isabel-Lee Malone, directorThe Open Studio for the Performer was founded in 1981 by Achim Nowak andIsabel-Lee Malone to offer a form of performance training that we saw as lackinginthis town. Malone is now sole director of the school, which holds classes and hasdone six productions so far, including: Michi's B/ood, in Washington and New York;5 Lives; Lola's Piece, and The Language of the Dead.Our commitment is to' the development of the performer's and person's instrument,which we define as the body first and foremost because that is the area ofgreatest need; then the voice, mind, and heart. We believe in personalization of thework whether it is in class or in production. Just this fall we developed a solid core ofmovement, voice, and performance skills workshops.We encourage our students to view themselves and prepare themselves as theatreartists, not performers alone but also writers and directors, creators of new work, andhelpers of each other.As producers we are interested in the use of personal material and histories, in findingforms that fall between dance and theatre, in asking questions as much as makingstatements, and treating ourselves in society or in universal situations.We are interested in teaching seniors and treating the problems of aging in futureperformance work.We are an artist-run organization for artists.Classes for the Spring of 1984 include: Movement, Linkletter technique for thevoice, Performance Skills, Character Development, Alexander Technique, andmore.PEOPLES' MUSIC NETWORK1827 Kilboume N W.Washington, D.C. 20010(301) 967-3259 (hi or 763-2160 (wi Contact: Rose Hernandez(2021328-7554 (h) or 234-2000 (w) Contact: Michele GuimarinThe Peoples' Music Network is a group of musicians, artists, and politically-mindedpeople who are working to educate, build understanding, and develop trust withi~~heprogressive community through music. The purposes of PMN are: to organize politicalmusicians to share their music and expand their horizons, and to promote the us~ ofmusic in the progressive community. To carry out our purposes the PMN willproVIdeperforming opportunities and other forums for local political musicians and willserve asa clearinghouse for progressive community organizations and musicians.Our projects and perfomances will be visible and available to all segments of the cornmunit~i~c1uding th~ phYSica~lychallenged and hearing impaired. . . .. lac-. MUSICISa connecting force In the struggle for change. Making music IS our pohtlca thetion. Our music prepares us for and supports us through our struggles. We oppose .wa'y thi~ society divides us by race, sex, age, class, and sexual preference. We stand 10unity WIthall people who work for equality freedom and self-determination.PMN holds "Song-Swaps" and public f~rums (such as the one on May 12, 19~featuong ~ernice Johnson Reagan of Sweet Honey in the Rock, program dire~torIIan Ic~ltural ~lstOrian.at the Smithsonian). It also publishes a small newsletter that I~stsloeap ogreSSlve musIC events, national conferences, etc., and occasional song lvrlcs.League's main office is located in Washing- PUBLIC INTERESTton, DC, With affiliated offices in Memphis, VIDEO NETWORKTennessee and Tulsa, Oklahoma. 1736 Columbia Rd., NW.Washington, D.C. 20009 slobodov(202) 797-8997 Contact: Arlen(pIVNIwasPublic Interest Video Netwo~~ dependentorganized in 1979 by a group 0 ;:;'d withthetelevision producers and launc p wer' Thelive satellite broadcast of Nuc!e ar I;ar r~lIY0/Public Reaction from t~e antl-~~C New yorkMay 6,1979, in Washington. e ffrt by indt hi IS " a I a ndmarke TImes calle adependent video producers and journaliststo gain access to the public televisionsystem."PIVN aims to provide a national televisionaudience with greater diversity in public affairsprogramming and is now expanding toprovide regular distribution of independentprogramming to broadcast stations, cablesystems, and new TV outlets. To this end ithas produced national broadcasts on Abortion,Energy in the Eighties, America atThanksgiving, Solidarity Day, Nuclear War,Alternate Conservation, and the WhiteHouse Conference on Libraries and InformationServices. In 1982, PIVN producedWithdrawn from Circulation, the two OSHAfilms withheld from public viewing by theReagan administration. Ed Asner introducesthem; they are Can't Take No More andWorker to Worker, both on health and safety,both narrated by Studs Terkei. ThinkingTwice About Nuclear War is narrated by MikeFarrell of M· A •S· H and was aired over1001 Black Inventionsmore than 200 PBS stations dunnq 1982Ground Zero Week. PIVN also works withcommunity groups and produces public serviceannouncements, newspieces, and communityalerts on Videotape.Tapes are available in 3/4" or 1/2" andsometimes in 16mm film. They rent from$40 to $125 and sell for $75 to $450.GREG REYNOLD'SDANCE QUINTET ,c/o Lansburqh's Cultural Center ~420 Seventh Street, NW _..- .....Washington, DC 20004 -,(202) 724-2180 or 783-FIVE 'Contact: Greg Reynolds, Artistic DirectorMartin Petersilia, Administrative DirectorGreg Reynolds Dance Quintet is a small,, professional modern dance company with anational and international reputation.Begun in 1976 as the New York DanceQuintet, the company moved its principalPIN POINTS THEATRE4353 Dubois Place SEWashington, DC. 20019(202) 582-0002contact: Ersky Freeman, Jr.,artistic directorPin Points is a musical theater companythat turns various subjects such as history,biology, and math into zany dramatic skits.This group of professional entertainers hasperformed at over 360 theaters and collegesthroughout the east coast. Reviving oraltradition, Pin Points presents a fast-movingcollage illustrating the historic, romantic, intenselyemotional, and insanely funny situationswith which humans become involved.INTERCOURSE (meaning relations,transactions, and com munition) , Pin Points'first major production, was voted one of the"Ten Best Plays of 1978" by the televisionprogram Critic's Choice.NO DRESSING, "the formula for worldpeace," is a comedy with a message. Itvividly dramatizes stress in human relationshipsand the methods for preventing stressattacks.1001 BLACK INVENTfONS is PinPoints' most spectacular production. It is atwo-part drama featuring the amazing livesof black inventors and a fun journey into theTwilight Zone, a world without black inventions-beds,inoculation, long distancephone calls, steel, ironing boards, refrigeration,fountain pens, chemotherapy, brainsurvery, modern music, and many others.Pin Points is an entertaining enterpriseconsisting of six highly energized performerswho pride themselves on their ability to capturea large diversity of audiences in a diversityof spaces. Their goal is to carry theirhilarious "edu-tatnment" to peoplesthroughout the world.base to Washington, DC in 1979. In the past5 years, its activities have included professionaltheatre performances, residencies,workshops, classes, and arts-in-educationprograms involving audiences/participantsof more than 100,000 adults and youngpeople. The company is multi-ethnic, multiracial,and multi-religious in composition. Itespouses no specific political or social ideology,but is deeply committed to artistic programsfocused on the peace, civil rights, andhuman rights movements. The DanceQUintet seeks to break down the barriers between"professional" and "community"arts, with more than 75% of its activities involvtnqnon-traditional audiences. TheDance QUintet is the only American dancecompany to give its premiere performancesin the Soviet Union (1976), and has touredAustralia (1978-79) and performed in residenceand on tour throughout the Northeast,Midwest, and Southeast.24 Cultural Correspondence Cultl,lrol Correspondence 25

SOUTHEASTWASHINGTON, D.C.TOMORROWS WORLDART CENTERw·c/o Lansburgh's Cultural Center420 Seventh Street, NW •IWashington, DC 20004(202) 829-1188•Contact: Georgette Powell,Directorv. ITomorrow's World Art Center is a nonprofit,tax-exempt arts and education organizationwhich offers ongoing instruction,workshops, demonstrations and exhibits asan educational, vocational and therapeuticlearning experience for children, youth,adults and senior citizens. The communityserved since the inception of the organizationin 1975 is a broad multi-ethnic mix ofBlacks, Hispanics, Orientals and lowto middleincome whites with a population of morethan 50,000 in mostly inner-city neighborhoods.Tomorrow's World annually sponsorsan open visual and performing artsevent at the end of the summer under the title"Art in the Park" (since 1967). The grouphosts visiting artists in residence in a permanentstudio; sponsors a wide variety of exhibitionsat alternative gallery spaces in theWashington Area; and sponsors the "YoungFilmmakers" institute, an ongoing programof instruction for young people in all aspectsof the creation and production of animatedfilm work.THE WASHINGTONAREA FILM/VIDEOLEAGUE418 Seventh Street, NWWashington, D.C. 20004(202) 783-0400 contact: Gail CarterThe Washington Area Film/VideoLeague is a non-profit arts and educationorganization, founded in 1975 to promotethe media arts, and to serve as an informationalclearinghouse to establish and en-From a performance by the Dance Construction C ompany.26 Cultural CorrespondenceWASHINGTON WOMEN'S ARTS CENTERc/o Lansburg Cultural Center420 Seventh Street, NWWashington, D.C. 20004(202)393-8364 contact: Sylvia Snowden, coordinatorOrganized in 1975, the 600 plus member Washington Women's Arts Center wasestablished to support women artists to the general public locally, nationally, and internationally;encouraging women to seek out their self-identity and develop selfesteemby distributing information on all facets of being a women. The WWAC maintainsa gallery with rotating juried and non-juried exhibitions at the Lansburgh'sCultural Center in downtown Washington; publishes a monthly newsletter; curates alibrary including the I. Rice Pierra Collection and extensive documentation on theWomen's Movement; sponsors a wide variety of special art, literary and theaterevents, including the Edith Blum Lecture Series and the Pro Femina Theatre; and offersyear-round workshops and classes so that both female and male members canimprove the professional quality of their visual arts techniques. The WashingtonWomen's Art Center successful pioneering of a new concept in the organzing ofwomen in the arts has caused it to become a widely used "pattern" for the establishmentof similar groups across the United States and abroad.courage the development of a networkamong independent film/video artists.WAF /VL provides services to the independentfilm/video community, including: artsadvocacy; sponsorship of workshops, conferences,and special events; a resumereferral listing; and information on production,distribution, and exhibition of thefilm/video arts. WAF/VL periodically producesthe Washington Film Festival, andpublishes both the monthly newsletter,Focus, and The WAFIVL Book A Guideto Film & Video in the D.C. Are~.WASHINGTONPROJECT FOR • • •THE ARTS400 Seventh 51., NW V.Washington, D.C. 20004IWIThe Washington Project for the Arts is anon-profit Visual and performing artsorganization devoted to showcasing local,national, and international artists. Since itsinception in 1975, WPA has served as avital forum for the newest developments incontemporary art and has received nationalrecognition for its interdisciplinary programs.Facilities include over 7000 squarefeet of exhibition and performance spaceand a bookstore featuring artists' books, artmagazines, and new music recordings.MAIDA WITHERSDANCE ~.CONSTRUCTION ... .l''''COMANY ~2937 N. 26th Street "Arlington, VA 22207 \(703) 522-7060 Contact: Maida WithersMy work is devoted to experimental collaborativeprojects in the arts.The Dance Construction Company is amodern dance company of three men andthree women residing in Washington, DC.The Company, under the direction of MaidaWithers combines elements of dance, musicand 'the visual arts in evening-long choreo~raphedworks. The Dance ConstructionCompany is known for their innovative workin bringing together established artists capableof collaborating as creative and perform'ing artists.. tedThe choreography ranges from pOlO. abstractSOCial commentary to sensuou~ .' uelmotion for the highly trained and mdlvlddancer. The dancers, in addition to per-. proformingthe established repertory, irn hvise and contribute to the works thro~g.h. MUSIC 15scoring and scripting tee DIques.commissioned for each work and is al~a~played live in performance. John Dn~ 9has been musical director since. the fo~nh~~9of the Company. Bill DeMu1l1S the hgBethdesigner and costume design is byBurkhardt and John Bailey.4531. Arm of the Sea Players, PumpkinPageant; Garrison's Landing, N.Y.... 2.Graphic by Anton Van Dalen, from WorldWar 3 Illustrated; N.Y.C.... 3. Graphic byMatt Howarth, from Data Day Communications;Philadelphia, PA.... 4. "RonnieReggae" byJay Grell, from One World ArtistCoopertlve: New Haven, CT.... 5. Children'sArt Carnival, N.Y.C. Photo by BillAnderson.Northeast:Rolling hills and growing job lines ... YankeeIndependence and industrial development. .. strikesand moguls ... Madison Avenue, Broadway, theMetropolitan; Harlem, the Lower East Side;Ukraninian Easter Eggs, Reggae in the streets; bagelsand lox, plaintains and black beans. Megalopolis.Cultural Correspondence 27

yNORTHEASTCONNECTICUT MASSACHUSETTS NORTHEASTTHE ARTISTS COLLECTIVE, INC.35 Clark StreetHartford, CT 06120(2031 527 -3205contact: Dollie McLean, executive director.....r:"'H"'~II.:,.. ~••••Initiated by Jackie McLean, the noted alto saxophonist/composer, The ArtistsCollective was officially incorporated on April 11, 1972, with co-founders PaulBrown, lanis Martin, Dollie McLean, and Cheryl Smith. Dollie McLean, who is theexecutive director, coordinated the activities which led to its incorporation.Based in Hartford's North End community, the Artists Collective is a multi-arts institutionserving the interests of Greater Hartford. Training workshops, offered fromSeptember through June, in dance, drama, music, and visual arts to children andadults, are staffed by highly trained, professional working artists. Emphasis is placedon the artistic and cultural contributions of the African/Caribbean American and onexposing its students and the community at large to the great artists of the past andpresent who are often overlooked by mainstream institutions.The Collective presents special events for the general public, including concerts byrenowned jazz artists, productions from the dance and drama departments, and artexhibits. B. B. King celebrated our Twelfth Anniversary in Bushnell Park this last July,performing to an audience estimated at 50-60,000.Yaboo Ceremony, which is based on the African tradition of welcoming youngpeople into adulthood (a rite of passage), and.Kwanza, a celebration of the harvest ofthe first fruit, also based on African tradition, are presented annually.The Artists Collective's Performing Ensembles in Dance and African Percussionconsis.t of.selected outstanding students. They perform for schools, civic and culturalorganizations and are showcased at The Collective's special events.I A special six week Summer W~rk/Training Program has been offered for the pastse~en ~ears to y~~ngsters of working age whose family income meets CETA Programg~ldehn~s. Inquiries should be made in March as to the availability of assignments forthe.commg .summer. On August 10, 1-983,122 youths performed in the productionwhich culminated th.e Summer Work Program, "Love Will Find a Way." The themefor the summer was m memory of the musical genius Eubie Blake. Ninety percent ofthese youngsters had never heard of Eubfe Blake or had a petformtn 'before.'g expenenceThe Artists Collective is supported by the City of Hartford, and funded b the?rea~er Hartford Arts Council, the Connecticut Commission on the Arts th: Na.b hOnathEndlowml fent for ~heArts (through its Expansion Arts and Jazz Progr~msly and0 er, oca oundations.PMNSFS (PEOPLESMUSIC NETWORK FORSONGS OF FREEDOMAND STRUGGLE)158 Cliff SI. Norwich, CT06360contact: Charlie King or TravisJeffrey....."'H~~,..,,..~A n~twork of singers, musicians,songwrIters, archivists, concert producersclub owners, record distributors, radio programmers,and other musical folk Wshar~ music that celebrates what is b~st i~our hves, focuses on what needs changingand breathes hope and energy into thechange process, Our 700 U S d Cdt be . . an ana-.Ian m~m IS receive a detailed memberhst, a bi-annual newsletter (Sassafr 1 dan' lt t· as , anmVIa Ion to gather twice a year for gra dswaPbs ofh~ngs and experiences. Ann:1mem ers Ip fee: $5.SUZANNE LANGILLE981 State StreetNew Haven, CT 06511(203) 787-0646~ am a feminist-ecologist singer I songwriter.I am working to track down the manysongs being created and modified duringdemonstrations and marches-the everchanginq,authorship-obscured, true folkmusic of today, I work to brtdge the gap betweenw.hlte musicians and black, Hispanicand N.ative American musicians. I am alsoexplonng Nueva Cancion. In addition I amdeveloping "singing chants" for 'demonstrations.ONE WORLD ARTISTCOOPERATIVEP,O, Drawer A RAmity StationNew Haven, CT 06525(203) 865-3200Contact: Bernie Levy or BillMannettiWe are a worker cooperative that hasIpublished an edition of 36 politicalpD"r to distnbulcards We are now atternp 109 hethem 'through the movement and thro~gthe market. We look forward to a contin~~and expanding role in the move.men~ersCooperative members are the artists.'and editors who contrib~ted to 'pro~~~rtIO'We have conceived thiS as a first I'ti ~ward a revival of Widely distributed .~ lW~Ygraphics. We also view this as a pOSSJ e a.labili f orker cooperof proving the Via Htty 0 w h Ilhee!'tive-ownership. We see evidence t a Idlikefort is economically feasible. We WOU ef/orld i di 'duals intoourto bring groups an In IV! keoverwho would be willing and able to ta---------------SASSAFRAS ,~c/o PMNSFS Ii'f,158 Cliff SI. f'Norwich, CT 06360 'r ublicatiOO 0/Sassafras is the newsl erte P Songs01the People's Music Networkt~~ listingI.Freedom and Struggle-seemore information.ALTERNATIVEAMERICABox 134 Harvard SquareCambridge, MA 02238(6171876-2789Alternative America is a book containinglistings for 13,000 + alternative lifestylegroups and organizations. The second edttion,which is now available, consists of 3parts: a geographical listing, in zip code order,each group/organization. The secondpart is an alphabetized listing of all thenames. The third part is an alphabetized listingof the keywords so you can find things bysubject. Some of the categories listed are: alternativepress syndicate, alternative bookstores,ecology/environment, food coops/stores, health care/homosexual/political,self-help, women. Price for the book is$19,95 plus $2 for postage and handling,ARTS FOR A NEWNICARAGUA503 Franklin Street #1Cambridge, MA 02139(617) 491-5816Contact: 491-5816Group of political activists and artists whoraise funds to purchase art materials such ascameras, sound equipment, paints, etc., forcultural groups in Nicaragua. We are alsosponsoring murals around the theme of centralAmerica and have future plans for culturalexchange with artists from Nicaragua.LAURA BURNS ANDROGER ROSEN44 Draper StreetDorchester, MA 02122(617) 265-5640Laura Burns and Roger Rosen have beenperforming together for over four years inclubs and coffeehouses throughout theNortheast. They deliver a powerful eveningof political music with rich vocal harmoniesand infectious good humor. Drawing from arepertoire of uncommon breadth, theirsongs include stories of historic and contemporaryresistance to oppression.Laura and Roger accompany themselveson six- and twelve-string guitars and electricbass; their music includes original material,and songs by the most fresh and excitingnew songwriters in acoustic music. An eveningwith them will leave you feeling empoweredand hopeful.ALICE JAMES BOOKS(published by the Alice James Poetry Cooperative)138 Mt. Auburn StreetCambridge, MA 02138(617) 354-1408• »Ten years ago, in 1973, five women and two men who had been sharing a poetryworkshop and running a series of poetry readings in a cooperative art gallery in Cambridgedecided to form a small cooperative publishing company. Their main purposewas to redress the balance of large publishers, where the poetry of talented womenwas largely overlooked. Inspired by the fate of Alice James, thwarted sister of novelistHenry and psychologist William, whose brilliant and moving diary was suppressed byher family, the group established the Alice James Poetry Cooperative, planning topublish under the rubric of Alice James Books.Since its first two-book series published under subscription by a group of devotedpatrons and designed, typeset and printed by the authors themselves, Alice JamesBooks has grown to 41 members and 45 published books. In 1975, the MassachusettsCouncil on the Arts lent their support.Each member, who is entitled to publish no more than two books, receives a hundredcopies of her or his book in lieu of royalties, retains all rights, and is assured thatthe book will be kept in print as long as the press exists. To insure the economlc survivalof the cooperative, every member shares the work of the press for at least a yearand a half. This includes attending weekly and monthly meetings and specific taskssuch as overseeing mail orders, following reviews, submitting press titles to literarycompetitions, publicity, catalogue production and fund-raising.Statistics do not convey the special quality of belonging to this shared-work collective,where members feel a warm and familial relationship. In this tenth year celebration,though, there is worry and uncertainty about the future of the press in a time ofeconomic difficulty. We therefore hope for your continuing patronage as a reader,sponsor, patron and cheerer-on if we are to continue to serve the cause of poetry.CHINESE CULTURAL INSTITUTE272 Tremont StreetBoston, MA 02116(617) 542-4599Contact: Dr, Doris C,J, ChuThe Chinese Cultural Institute is a non-profit, non-partisan cultural institution. Itspurpose is to improve East-West understanding and to stimulate interest in and understandingof Chinese history, philosophy, literature, and arts by producing or presentinghigh quality art, historical and documentary exhibitions, stage performances,and by offering lectures, symposia, classes, and workshops to the general public,which includes non-Chinese as well as Chinese.Its programming encompasses six areas:1. Visual arts and Humanities-exhibitions of Chinese arts of the past and the present;exhibitions of interpretive, historical, or documentary materials.2. Performing Arts-presentation of Chinese drama, dance, and music.3. Education-classes and workshops on Chinese painting, calligraphy, music,dance and language; lectures and seminars on Chinese literature, history,philosophy and art; gallery talks and slide/tape presentations, conferences, and symposiato accompany exhibitions of particular significance.4. Research and collecting of Chinese American historical materials.5. Consulting service-information and materials on Chinese arts and culture givento high school teachers and college students and interested individuals upon request.6. Sponsorship of community cultural activities and festivals.An association of Chinese artists in Massachusetts has just been formed under theauspices of the Chinese Culture Institute.28 Cultural CorrespondenceCultural Correspondence 29

NORTHEASTMASSACHUSETTSMASSACHUSETTSNORTHEASTCOMMUNITY PRESSFEATURES100 Arlington Street, 2nd FloorBoston, MA 02116(617) 482-6695Contact Priscilla P. StadlerCommunity Press Features is a nationally-distributed alternative graphics servicethe only such service in the U.S,. CPF was formed in 1971 by the Media Project of Ur:ban ~Iannmg Aid, In~., a provider of technical assistance and advocacy for manylow-mcom~ commumty groups ~nd individuals. Formerly known as CommunityPress Service, CPF began as an information service for community groups in the~oston ar~a and Overthe years began to feature more and more graphics EventuallyISwas decided that CPF should be an all-graphic format. .Prese.ntly, CPF seeks to provide camera-ready graphics in current issues and toportr~.y Images of people and Viewpoints not available in the mainstream media Ourgra P b l:ooS ca~ belused in flyers, newsletters, brochures, or any type of publication' Oursu sen rs me ude such groups a' . .s unions pnsons groups, feminist and progressivenewspapers, tenant advocacy groups co d envtfew The gra h' blt h ft ' ops, an envIronmental groups, to name afleci a wide s~a~~:t:~~S:f c~me~~~i;e ~r~:n~~raSnUdbgSCloribbaelrs' publications and re-Duet d f dt C ' concerns0 e- un 109, PF is run on a part-tim b . b .occasional assistance. However, a small worki~ aSII~1y ?n~ s~affperson, with someset up to help insure the survival of what we con;' ~o tec~ve 15 "' the process of beingwide variety of COmmunities. I er 0 e an Important service for aCPF comes out every 4-6 weeks and Se te blOOth issue. In our quest foreconom' If Pft"~ er marked the celebration of ourjor subscriber outreach campaign wit~ seb-suo1~lency, we are in the process of a maforindiViduals and community gro ~~~~IPtJons availa~le on a sliding scale: $25unions and small publications (circu~~t~~n20 g~~e~bershIP organizations, schools,cies, libraries, companies and publication '.th .or es~); $60 for government agen~formate is six 11"x 17" pages p . S~I clrculahons of 20,000 or more Theer ISSuean Subscription prices are for 12 issu~s.DAVID FICHTER503 Franklin Street #1Cambridge, MA 02139(617) 491-5816Political visual artist; I make posters, illustrations,and graphics for various progresosive cultural groups, political organizationsand unions. My work variesfromposlersforWallflower Order and Grupo Raizto illusnatinga legal handbook for rights in the workplace.In addition Ido fine art paintinganddrawing around various social and politealthemes.FAG RAGBox 331, Kenmore StationBoston, MA 02215(617) 426-4499contact: Mike RiegleFAG RAG is a gay male journal of anarchistanti-authoritarian art, photography,poetry, short stories, plays, essays, andother miscellaneous activities intended todestroy the straight, white, male wayofd.o.ing things-sometimes called the mssionaryposition. A collective of fiveto lenfaggots, FAG RAG recently published'TWELFTH ANNIVERSARY 155UE Inad·dition to publication, FAG RAG pres~~lsspecial road shows-"Guilt Relief Tour.-and recently appeared in BaIt·trnore,Phd,·delphia, . Boston, Toron t and Nashua,0,. "FAGN H According to one nght winqer, .. . h ublica-RAG is one of the most [oat some p bltions in the English language." (Pres~~~ .~anything not published in Eng IS Iloathsome?) h saun-During gay pride marches we ave s&Mtered along with the Gay Atheists, theN rrhGroup the Gay Anarchists, the 0 d' /B L Association,anAmerican Man oy ove ling towe're always in search of others strugg willcreate an art/ a world where everyonebe a poet.DEBORAH KRUGERBrickyard Hollow Montague, MA 01351(413) 367-2671The greatest challenge for me as an artist is to make beautiful objects which affectpeople's lives. I am a collage artist working in a crafts center in rural Western Massachusetts.Although I have worked on public arts projects and with groups, I am presentlyworking alone on the subject of pornography-realized by an installation of 21richly patterned crucifixes-as an issue and metaphor of our times.My work integrates politics and art by juxtaposition. Influenced by MariamShapiro's use of patterning and women's iconography, my present methods involves"collaging" the refined world of wallpaper and the raw world of pornography. Mostpeople are charmed by the old-fashioned wallpapers I use. In my large quilt collages,for example, the viewer often moves closer to enjoy the visual cornucopia of wallpaperpatterns. It is then that they discover the work's deeper content. This techniquealso serves as a metaphor for the well-camouflaged pornography in our society.What I hope to accomplish by this trompe l'oeil technique is to allow the viewer toconfront ideas which are buried deep within us. Once consciousness has been raised,it is difficult for it to be submerged. This is how images influence people, wherechange happens, and why politics properly belongs to art. As objectionable as Ifindpornography, it transcends the specific pro-con debate which it typically generates.What pornography has in common with war, avoidable hunger, plundered naturalresources, genocide and nuclear weapons is a casual disregard for human dignity.Much of my work is about the extreme difference between how we are taught toview the world and how it really is. As an artist it is my responsibility to portray the turmoilin our world in a way that people can clearly recognize and be motivated tochange.RICHARD GARDNER -til__Box 134 Harvard Square ~Cambridge, MA 02238(617) 876-2789A writer who writes experimental fiction/prose in public in Harvard Square es a kind ofstream of consciousness/performance act.As he writes, people come by and talk to him,read, make comments, tell him what tosay~and their actions and words are includedin the manuscript along with his reactions.The work, Private Writing in PublicPlaces, is available from Gardner.Gardner also operates a computer businessfor automating and maintaining lists forsmall publications and organizations called"Alternative America."See also: Alternative America-------PERFORMING ARTISTSHENRY GATESFOR NUCLEAR49 Putnam AvenueDISARMAMENTCambridge, MA 02139PAND/Boston(617) 864-1317456 Massachusetts AvenueCambridge, MA 02139h l'beralion of the (617) 661-7263My art is centered on tel h ist [de'. arts t erapPerson. As an expresSiVe eativity.I nhancecrvelop ways for peop e t~ e I . fi urative,of·My art takes shape in visue ~. g leek syrn·ten portraiture. In both situati?nsl :nd spirit·bois for greater life, both po ~Ic~areworkinual. I find it best to create an s that is, theclinics, schools, church~s. 'he American"street." I'm associated With t .t dChurch. ti theUn,e ...Art Therapy Assocla on, . Solid""of Christ, and C entra I A meTlcan'4 ....:"Il•••• ............ 'I~A network of artists in many performingdisciplines who are committed to activelyimagining in their art work, and imaging totheir audiences, alternatives to the nucleararms race. PAND produces events, and facilitatescollaboration, artistically and administratively,through its activities betweenartists and social, political, and communityorganizations with similar goals.PEATOCHarvard StreetNeighborhoodHealth Center, Inc.895 Blue Hill Ave.Dorchester, MA 02124(617) 825-3400contact: Claradine Moore-James and Christine M. BondPeetoc (Peer Educator Touch of Class) isan innovative, exciting, educational tooldeveloped at Harvard Street NeighborhoodHealth Center for Teenagers and designedto change adolescent sexual behavior.Peatoc members, ranging from age 8-20have been trained to do public speaking,health education workshops, theatrepresentations for pre-teens, teens, parents,and people who work with youth.The goals of Peatoc presentations are toeducate and sensitize people about adolescentcommunication issues; teen-agepregnancy; venereal disease; drug andalcohol abuse; and the need for routinehealth care maintenance.Association.30 Cultural Correspondence Cultural Correspondence 31

NORTHEASTMASSACHUSETTSMASSACHUSETTSNORTHEASTPROGRESSIVEPLATIERP.o. Box 638 Kenmore StationBoston, MA 02215The Progressive Platter is a Boston based music review magazine. It featuresreviews of the lop selling and most-listened to rhythm and blues, dance, rock andeven import albums and singles. The Platter also incorporales a monthly feature onan artist with a newly released album.The Progressive Platter was formed in 1976 by Cosmo Wyatt, a local disc jockeyand head of the New England Disc Jockey Association. The idea of the Platter wasborn out of Wyatt's personal interest in music, in the hopes of providing New Englanderswith an alternative perspective and review of current musical events.The Platter has a circulation of 10,000 and is seeking expansion to an even greaternumber. It is distributed monthly to retail outlets (both in New England and in NewYork), disc jockeys (via service to over thirty-five record pools nationally), collegecampuses, and various radio stations.In the future, the Progressive Platter plans to diversify its interest into a broadercommunication base; correlating new technology with entertainment. If you wouldlike additional information on the Platter, please write us at the address listed above.ROCK AGAINSTi)SEXISM473 Mass. Ave.Boston, Mass. 02118Contact: Liz NaniaRock Against Sexism is an organizationthat aims to raise the consciousness of musicians,listening audiences, and the music industryto sexist traditions in rock 'n' roll. Wesupport and showcase women's and nonsexistbands and their music which isgenerallynot promoted by the commercial media.We expose new music to people who believethat rock 'n' roll is hopelessly offensive towomen, gays, and people of color.Rock Against Sexism provides a comfortableplaying, listening, and dance space forpeople who don't like or can't get into manyof the dubs because of age, race, sexuality orthe price. Allevents are wheelchair accessiblewhenever possible. R.A.S. also holdsworksh?ps, some especially for women, thatdemyst~fy equtprnent, technology, and themUSICmdustry in general. We publish aquarterly art/newsletter chock full of artpo~try, editorials, news, fiction, letters'reViews, etc ... A sample issue is $1. 'WILLIE SORDILL38 Jay StreetCambridge, MA 02139(617) 864-3980. Will.ie Sordtll performs solo and with afIve-pIece ensemble "The W·II· 5 .G" ' I re ordillroup -performing folk-based -sic. ~ince 1979, Williehas been t~:~~ :~tenslvelyat colleges coff h g-I ' ee OUses barse ementary schools elde ' "efits picket lin ' rs programs, benand'formal es, sftreet fairs, restaurantsconcerts rom coast t f~uently sharing the billwith som~ ~~~~'b re;nown acts performing acoustic music. es32 Cultural CorrespondenceMOLLYSCOlTc/o Surnttra MusicBoxUCharlemont, MA 01339(413) 339-4245Molly Scott, composer, singer and poet,has ~n extensive background in the performmgarts and has focused her music andteaching work on issues of personal and planetaryhealing, disarmament, and peace.An ceo-feminist and environmental activistshe creates music which "illuminates ourconnection with the earth and each other."She has hosted her Own television and radioprograms, founded the musical group SU-MITRA, composed for the musical th~aterand given workshops at centers around thecountry, including Omega Institute. Interface,.and the New England Institute for theHealmg Arts and Sciences. She is co-founderof the Heartsound Center for Music andHealth in Charlemont, Massachusetts andrecords for Philo/Fretless records. H~r let-~~~bum is "Honor the Earth," with SUMI-EL PUEBLO NUEVO,INC.r.o. Box 212, Back BayAnnexBoston, MA 02117(617) 524-2165Contact: Martha Rose,CoordinatorEI Pueblo Nuevo. Inc., is a non-proifvolunteer organization committed tousingthe arts as an educational 1001 forpolitic~awareness, building solderity amongprogressivecommunities in the struqqledforsoctelchange.EI Pueblo Nuevo began es a Latin AmaicanTheatre Festival in the spring of1977,At that time, our work centered aroundanannual week-long festival of LatinolheatreIn 1979, we expanded the conceptoftheorganization, and began working insupportof local artists and initiating culturaleventson an ongoing basis. We have grownfr~mour original concentration on theatretonelude music, dance, poetry, video,andfilm.Although our roots are in the Letinoccr"munity. we reach out to other raciala.n~eth.nic communities; we believe that artisticeXpressioncrosses ethnic, cultural, andgeographic boundaries. .The concept of EI Pueblo Nuevospnng sfrom. . I nt-theN ..an internationa moveme .Song/La Nueva Cancion movement-ong'b· estra·inating in Latin America, that com InI Iditional and contemporary cultura e e·ments in a new and powerful way.Our ongoing work: . nso f• To promote the artistic expressl0't.e5diverse racial and et h Ole. communtIthrough a variety of cultural event~. tsand• To facilitate a network among ~h: senti,communities whose work reflectsments of EI Pueblo Nuevo. . back·. h f m diverse• To provide yout rc boutT 10 learnagrounds with opportuOl les d meansr'onan athe arts as a form 0 express lto build self~awareness.----------STREET PERFORMERSNEWSLETTERc/o BairdP.O. Box 570Cambridge, MA 02138hen BairdBoston street singer StePthiCalstreetPublishes this "infrequent, my rageshis" rid enc ouPerformers' newsletter a ',tasfarasHnd pass Ireaders to photo-coPY I I the legapossible. It covers, in lively.sty elioverthef t erformrng a "".problems 0 stree. P t places to yv_country. organizatIons. bes Iific ation ,sub,form information on amp I· e hasshng,, h t po ICways, passing the a,books to read, etc.DEBORAH SILVERSTEIN37 Weld Hill StreetJamaica Plain, MA 02130(617) 524-6204Deborah Silverstein has been singing and writing songs since her childhood spentin Johnstown, a small town in the Allegheny mountains of western Pennsylvania.She began performing extensively in 1973 when she moved to Boston and became afounding member of New Harmony Sisterhood, a five woman string band. New Hermonyperformed around Boston and the East Coast for six years. Rooted in the traditionalAppalachian string band style, their repertoire grew to Include both traditionaland contemporary music concerning people from all walks of life, focusing particularlyonthe lives of women. As a guitarist, singer, and songwriter with New Harmony,Deborah's contributions are significant in establishing the band's popularity and success.All Our Liues-A Women's Songbook and And Ain't J A Woman (an album)are two of the lasting achievements the years with New Harmony produced.In 1980 Deborah joined a new group of musicians to form a traditional bluegrassband, Fire on the Mountain. Along with three of Boston's finest bluegrass musicians,Deborah participated in developing a high -peced, vocally exciting repertoire thatgained the attention of the Boston bluegrass and folk community.Since the spring of 1982, Deborah has been focusing on her solo repertoire andperforming in clubs and coffeehouses in the New England area. Her original musichas spread to many audiences-her song "Draglines" has entered the standard folkrepertoire and is performed from coast to coast.~'SUNDERGROUND RAILWAY PUPPETS & ACTORS INC21 Notre DameCambridge, MA 02140(617) 497-6136Underground Railway Theatre is a collective touring ensemble committed to performancework which is progressive as well as highly visual and musical. The forms inwhich the company works are as diverse as the issues it takes on as subject matter; infact the method for developing new material is generally a search for those formswhich best explore and express the given issue (if it is an original piece) or interpretation(if it is a classic). For instance, current projects in the can and on the stove include:Junk, a satire on consumerism and TV advertising. Rod- and junk-puppets. masksactors and live music. This is a family show, the troupe's most seasoned offering,which has played since 1978 to thousands of kids and parents all over the U.S.Ty/ Eulenspiegel's Merry Pranks (Strauss) and The Firebird(Stravinsky), both colorshadow puppet extravaganzas commissioned by and generally played with, symphonyorchestras. Tyl is interpreted as a social rebel and The Firebird is interpreted asa peace parable.Other productions are: Mothers and Whores, a feminist cabaret of songs andmonologs; The Vision of Dreaming Branch, a parable of identity and disarmament;The Anything Can Happen Roadshow, a disarmament vaudeville; Tale of a Soldier{Stravinsky] interpreted in the light of the Vietnam War.One of the collective's goals is a clearinghouse in the Boston area for progressiveperformance-troupes from everywhere, in which to share ideas and work. TheGathering in August '81 was a potent networking conclave, and the company looksforward to more of the same with the second Gathering in the summer of '84 (St.Peter , MN).Underground Railway is a nuclear of people which expands for specific projects.The company enjoys collaboration with other artists, particularly of progressive persuasion,and welcomes news of other politically active groups. The company belongsto Artists for Nuclear Disarmament. It serves a diverse community, and struggles toget its work seen by multicultural and disadvantaged audiences with moderate success.1984 is the 10th anniversary of Underground Railway. The company is planning aperformance-celebration based on the life of Harriet Tubman, the most famous of theconductors on the underground Railway of the 1860's.UNTITLEDMedia Workshop549 Columbus Avenue #5Boston, MA 02118(617) 262-4038Contact: Ainne FriendUntitled is a new xerox more-or-lessmonthly publication, put out by Media Workshopin Boston, that describes itself as "notjust another fanzine." A typical issues containsarticles on feminist/leftwing and internationalist,and rock music issues. Untitledwill be on a continuous search for poets,writers, cartoonists, artists, musicians,especially those to the left of the politicalspectrum.CulturalCorrespondence 33

NORTHEASTMASSACHUSETTSMA. N J. NY. NORTHEAST,,Lynn Cityscape by Arnold Trachtman.LYNN VOICESCOLLABORATlVEc/o Joe Boyd 55 Sadler StreetLynn, MA 01905Lynn Voices Collaborative is still alive &well. Although Lynn's The Newspaper isonce again (temporarily) defunct and wehave not been publishing Lynn Voices, thecollaborative functions in/around/outsideof Lynn as a producer of poetry readings atthe Lynn Public Library Main Branch andgoes on the road with songs, slides, andpoems about Lynn.I.NUCLEAR RECYCLINGCONSULTANTS •••P.O. Box 819Provlncelown, MA 02657 ., I(617) 487-1930 'l.Conlact: Jay M. CritchleyDirector'Our purpose is to help recycle and convert,oufnuclear heritage. This would primanl~he done through "Public Proposals"offenng creative concepts and d .lflc tc ear-h erawmgs~p~ tc to each site/facility. Use of the mediaIS Important. We ideally like to work withlocal groups in developing a project strategy,plan, etc. Use of humor is the key. Allnuclear facihttes in the fuel cycle consid d-energ t ereI y 0 weapons. Looking for artistsp anne~s, architects, visionaries. Assistgroups I,ncreative strategy.?ur first project: "Three Mile Island HistoneNuclear Park and Planned C .A S bo ommumty.- ym I of Nalional Pride" with dmgs of c 1· raw-00 109 tower conversion, l.e. Melt-P down Mall, Cooling Tower Cabaret etcresently d I . ' .eve ~Plng a project with localgroups for the Pilgram f plant in PI hMassachusetts. ymout ,IBILL COSTLEY4 Damien RoadWellesley Hills, MA 02181(617)431-1314Bill Costley is a member of the LynnVoices Collaborative and a co-producer of"Hyacincths and Biscuits," a Sunday morningpublic affairs program on WZLY -FM, the10 watt all-volunteer station on the WellesleyCollege campus. WZLY is a nonprofit,all volunteer no-censorship-of-politicalmessage/contentstation. Recent programsincluded a Frank Ryan Memorial for theIrish Revolutionary Socialist who died ofpneumonia outside Dresden June 101943, a Millen Brand Memori~I, and anti:nuke shows.RISING TIDE83 North StreetNewton Centre, MA 02159(617) 332-9174Contact: Dennie PearneRising Tide blends folk musicians of variedbeckqrounds and a unique combination ofmstruments (gUitar, Viola, mandolin, andconga d~ums) into a lively, rich, and warmperformmg group. With a variety of stringsp~rcussion, and full vocal harmonies Rising'Tide's"songs mc. Iude upbeat contemporary'?ngma~s, rnovtnq ballads, and stirring pollteelsatire... We do alot of benefit concerts and organiZingfor.nuclear disarmament, women's issues,.ThlrdWorld liberation issues, and proresslvecandidates such as Mel King. An alumT~four work is available also called Ris-Ing Ide. 'OUTERMOSTPERFORMANCEP.O. Box 819Provincetown, MA 02657(617) 487-1930Contact: Jay M. CritchleyDevelopment and presentation ofperterrnanceart in response to cultura1/politic~issues in public situations/settings. Utilization of visual images, music, percussion.dance and ritual, often in response tomediadistortion or confusion.Ensemble pieces include:"Atomic Equinox" -a multi-mediaperformanceutilizing film, specially-madesoundtrack and movement. A ritualisticmovement! dance takes places on a beachwith a backdrop of a 1958 pro-nuclear-weepons movie."Immunity Mandala-A CommunilyRit·ual" -a response to the media-inducedpaJ·anoia resulting from its coverage 01 theAIDS epidemic, right before the summertourist season in Provincetown, Cape Cod.Mass. Set outdoors on the harbor beach,the 6-member ensemble with Shaman~riveby boat and "sandpaint" the "Immu~ilyMandala" on the beach -a symbol fuSIngthe lamda Sign.(gay pntde symb I) with1M0yin yang. This is created from natur~IlY'found cofored sand, following by ch,nti~g,a prayer, and a dance cele b rafon.IAv,""ble on Videotape)--------Dennis Peameof Rising Tide.SUSAN JOHNSONP.O. Box 119Vineyard Haven, MA 02568I am a painter primarily; occasionally Iwork in other medias such as sculpture,photography, printmaking, book-making(including xerox), and mail art.After living in NYC for five years, Ihavecome back to Martha's Vineyard to work inthe high school art room, set up my studio athome, and save money. I have family hereon MV, so I identify with this community. Iam teaching art at the high school that Iattended.lwas involved in organizing alternative artshows in NY -the Survival Show, July1981; the Williamsburg All Fools Show,April 1982. Although I miss the hustle andbustle, I needed to get away.My art is political at times, but Ido not affiliatemyself with a specific group.I like showing with other people, but mywork is a personal statement; I do the seriousstuff alone; my imagery involves peopleand animals, and external things, etc.Iwould be interested in organizing and/orcontributing to shows. Ithink that good artshould be accessible and interactive, and itshould be seen.ARTISTS FORSURVIVAL144 Moody St.Waltham, MA 02194(61) 861-1653contact: Mitch KamenWe are two years old and have about 150members in eastern New England. This yearwe are doing a Soviet American BilingualPoster Exchange, on the theme "Save Lifeon Earth." We will exhibit the Soviet artworkin Boston area high schools and colleges.We hope to awaken consciousness at alllevels, from local libraries, schools, housesof worship, up to the halls of Congressabout the imminent danger to the surivivalof life on this planet. We use not only imagesof despair and mass death, but also we aimto depict hope, joy, and beauty.We have two slide shows which we rentcheap-one on the poster we carried in theJune 12, 1982 antinuclear march in NewYork; the other on our work asa whole. Weare planning a spring 1984 exhibit in theSenate Office BUilding.DAVE BESSONc/o Wilson Synchrotron LabsCornell U_ Ithaca, NY 14853I have played guitar for a few years bouncingaround Central Jersey with a variety ofRALPH LITWIN20 Early St.Morristown, NJ 07960(201) 538-2432I've been playing and singing since 1959doing banjo, harmonica, guitars, vocals,etc. There are two sides to Ralph Letwin. Asthe Goodtime Music (one man band) Iplaynovelty-jugband-country-blues~swing~rag~time-folk-yodeling AND/OR (at yourdiscretion) songs of social transformationand fun-poking political satire.Since 1976 I have been politically activeand writing songs for the environmental,alternative energy. and peace movements.In that year Iappeared on the Today Show'sRhode Island Bicentennial program singingmy song, "Profiteering Friends of Politicians"(released as a 45rpm single on theFunny Wisdom label).I have worked with the People's BicentennialCampaign, the New Jersey SafeEnergy Alternatives (S.E.A.) Alliance, NewJersey SANE, World Peacemakers (NorthJersey branch), and served three years as aN.J. Public Interest Research Group(NJPIRG) State Board representative, helpingto found the NJPIRG Renewablemaximum noise-questionable talent bands.I have some original material (politicallybased,kinda a la Tom Robinson) and wouldlike to contact other similar aspiring musicians.BEN LARKEY7 Cedars RoadCaldwell, NJ 07006I am a country recycling coordinator bytrade. Iwrite and sing music and play guitar,piano and percussion,I write jazz, rock, folk, latin-jazz, classicalmixtures with and without words of personaland social value. Iam looking for like mustdansin Westchester county, NY, to makemusic with.DES McLEANArt DepartmentMemorial HallGlassboro Stale CollegeGlassboro, NJ 08029Works in photography, Electrocopy, offset,mimeography, cartoons & strips, bookworks,newsworks, flyers, throwaways,ephemeron. Members of P.A.D.D. regulareditor for lSCA (International Society ofRalph LitwinEnergy Project,f Graduated from Rutgers Law Schoolwith a Juris Doctor degree and specialize indispute settlement techniques, I also giveworkshops on "how to get along with othersbetter (not perfectly, just better)," and docreative conciliation.Copier Artists), editor/producer of "Artfrom the Future."Visual in/ormation plus RE establishmenthegemony-control~exploitation~savagerydtsmformatlon."Art from the Future" viewsour dark and troubled times from a goldenfuture where a fully human perception ispossible.Cultural guard dogs are necessary to preventblindness, jingoism, servility and thetragic outlook produced by the world's mostpervasive, subtle, powerful, and dissemblingdream machine.RHUBARB1038 Park Avenue, Apt. #1Hoboken, NJ 07030RHUBARB: Official newspaper for theRadical Humor Union, a very loosely knitgroup of radical humor activists and enthusiastswho come together sometimes on fullmoon nights to plan humor actions. To becomea member of the Radical HumorUnion simply submit an entry to RHUBARB.Cultural Correspondence 3534 Cultural Correspondence

NORTHEASTN.J. NEW YORK CITYNEW YORK CITYNORTHEASl"WET PAINT" COMMUNITY MURAL PROJECT86 Edgemont RoadUpper Montclair NJ 07043(201) 746-0709contact: Philip Danzig, artistic director"WET PAINT," now in its sixth year, is a pragmatic, decentralized approach tomural making in an urban/suburban setting. It is based in Essex County and has producedapproximately 30 murals in the City of Newark and the surrounding ring ofmore affluent towns. Mediums are paint and mosaic tile.Our goals are to develop the esthetic talent of children and youth, to assist in thedevelopment of their social and cooperative skills, and to leave a positive and pennamentimprovement in the local environment. Secondary aims are to encourageyoungsters to project constructive messages through art and to permit adults to enjoyand appreciate worthwhile efforts of children. To do this, we have associated with theMontclair-North Essex YWCA, a non-sexist, progressive agency dedicated to theelimination of racism. We are funded by an Essex County Block Grant from the NewJersey State Counc~l on the Arts and the private Turrell Fund, which supports youthp:ograms. Each .s~nng ~e reach out to youth-serving agencies in the county and invitathem to participate tn our program of mural making. They must contribute three~Iements: 1) fi~d a w~lI;2) "loan" usan art leader; and 3) recruit local youth. In returnW~T PAI~ provides a Mural Art Training Workshop (a week-long seminar inc1udl~gdesl~n and completion of a full-sized mural), paint and materials and periodictechnical assistance through the summer, as needed. Mural themes and designs arecreated by the cooperating local agency... V!e believe that mur~1making provides many positive virtues: training artists sen-SlttZI~.9yo~th and fostermg alternate images in public places. We are interested i~ netmulm~ Withother progressive and SOCially-mindedartists and agencies' and in prom~ga~ng ~hebmehssagesof suc.h neighborhood agencies as recreation, y~uth centersan SC 00 s Y t e use of their own staff and "clients." 'Mural directed by Phillip DanZig for "'Wet Paint"!A DISTRIBUTION325 E. 84th StreetNew York, NY 10028(212) 505-6590contact: Alan FreemanDistribution of anarch' t b khi t IS 00 s, pampes,and art. Also acts as an informaticefnhterfor anarchist literature from all pa°rt noteworldS fh sWorkman'sC' ~mle 0 t e projects include:f .. Irce ectureseriesonanarcha~mmlsm, gay liberation Native Am . -TIghts and global d' ' encanA' ' Isarmament· M t IIde Press, publishing books by' I uduaanarchist f '. ea 109artist/write~mlsts, enVironmentalists, and36 Cultural Corre_~nnnrl"...~~InNewark, N.J.ABC NO RIO156 Rivington StreetNew York, NY 10002(212) 254-3967contact: Alan MooreABC No Ri .O-an artist-run gallery andPer formance sp '.(founded M h ace IS 10 its third year"R I E arc 1980 as a result of theea state Show " .hibition spotli hr ' an artist-organized extanI 9 109 aspects of the Manhatreaestate sca b'neighborhood .; emg practiced onheld in an a r~es~ ents). The RES wasbuild' pp pnated citY-owned vacant'"g on Delancy St Tdosed by the cit d reet. he show wasy, an subsequent negotia-tions led to our ensconcement in a buildingon Rivington Street, two blocks away.No Rio is dedicated to interactiveexhi~·tions presenting material of interesttoorrelated to community concerns, andworK'shop exhbitions in which neighborhoodresidents (primarily children) participate.Atthe same time, No Rio exists primarilyforthe artists who use it. It is non-curatedethibition space with an all volunteer staff.Many artists exhibiting at No Rio havetiesloor interest in the New York commerceletworld.Exhibitions are usually organized aroundthemes, e.g. Crime, Suburbia, SuicideMurder & Junk, Not for Sale [antigentrificationshow produced by PADD·affiliated artists-see seperate listing),EroticPsyche ... No Rio has hosted numerousevenings of poetry, performance, video,and music. Most recently we producedaseries of expatriate Latin American poetsand musicians.No Rio is pretty well-funded (NYSCA,NEA). Most of the group's resources atthismoment (June 1983), however, aredirected towards the publication of a comprehensivecatalog of exhibitions and artworkproduced at and around the spaceover the past three years, with poetry,essays and photographs relating to the, . I TheLower East Side and ItS strugg es.catalog, ABC No Rio Dinero, is scheduledfor Fall 1983 publication. eliNo Rio has a sculpture garden inthebawhich includes the monumental fountain. h " by Rebeccasculpture "Bratnwas , IHowland-a concrete and steel indictm en. . f h vironment.of corporate ruination 0 teen NIt is safe to say that whatever chan~~snOh.t '11 ain a pohn,,"YRio goes throug It WI rem ..involved activist oriented art eXhi~lIllOartn'. I' k th omm erClaspace with direct In s to e c salsworld All business and exhibition propoare c~nsidered at Monday night openmeetings at 7 p.m. (call first). . tintheNo Rio is what artists make It. Bu ·t·, a. E V'II art scene, I Ifast-evolvmg ast I age ., I commirt·"gran daddy" space; the pohttcament is primary. __WilA1YA 11EA11NO FR,££ SPEECHYA WI/IVNA I1AI'EYA 'PINIoNS KNOWN?A PAG£ 111711£NEW yoRK TIII'Y"ONLr t IK, 720ACTION/IMAGE266 12th Street, Suite 12Brooklyn, NY 11215contact: Phil LeggiereAction/IMAGE is a journal devoted tothe expression of collective memory and thewriting of histories. A/I welcomes poets, fietionwriters, historians, visual artists, andothers who are working with historical consciousnessand the grammar andvocabulary of historical representation.We are currently particulary interested infinding and working with:Visual artists and oral history makers,particularly in the NY /NJ metropolitanarea, who are organizing shows dealing withcommunity, local, ethnic, women's, andrace histories.Writers working on ways to explore theirown life histories in connection withAmerican social history throughautobiography.Writers who are working on developingways to study the relationship of popularculture media and forms of historical consciousness.In addition, particular kinds of writing andanalysis we're trying to encourage are:Experimental approaches to biographicaland autobiographical writing.Radically unorthodox approaches towriting of history.Political and cultural analysis which probesvarious social practices as modes oforganzing historical knowledge and collectivememory.Critical introductions to seminal texts andtraditions in the study of memoryWILLIAM M. ALLEN223 E. 4th Street, #12New York, NY 10009Ipaint and draw in what Iwould describeas a naive/primitive expressionist style, andIam a poet.My work is often, although not exclusively,a relationship of word and image, with nointerest in illustration in any direct way.I usually work alone, but have workedwith Group Material, Abstram, CHARASand Barbara Westerman, a sculptor.I am interested in bringing quality abstractionto political life. In my poems anddraWings, I try to speak about politics andmy life in non-literal ways. Ialso have experienceworking as an etcher and printer.I enjoy working with others..,,"-~~--Artwork on the People's Monument at the Elipse In Washington, D.C., Nov. 12, 1983.AD/HOC/ ARTISTSc/o PADD939 Lafayette St.New York, NY 10012(2i2) 420-8196Attn: Susan R. McCarnorc/o Charles Frederick803 9th Ave. #4NNew York, N.Y. 10019(212) 757-5583AD/HOC/ ARTISTS-A POLITICALPROTEST IS A CULTURALDEMONSTRATlON_The AD/HOC/ ARTISTS came togetherto bring a cultural politic to the organizingand the events of the November 12, 1983demonstration in Washington, D.C.,against U.S. intervention in CentralAmerica and the Caribbean. We wererepresented in the coordinating committeeof the November 12th Coalition, and participatedactively in the plans for thedemonstration. We chaired the committeefor the conception of the day's activities;organized a participatory dance donethroughout the march by a group of 50dancers; organized the building of a participatoryPeople's Monument; preparedand published a songsheet for the day; andundertook a visual and audio documenta·tion of the event.r::........,..,,:'IIl,..~.::....,.-.~-AD/HOC/ ARTISTS is ongoing in ourefforts to advance the relationship betweenthe cultural left and other progressivegroupings. We are still working with theNovember 12th Coalition, which includessuch groups as the Committee in Solidaritywith the People of EI Salvador, Mobilizationfor Surivial, Network in Solidarity withGuatemala, Democratic Socialists ofAmerica, and many more. Currently we areproposing that the coalition take on a oneyear Political Literacy Campaign in thiscountry, as a new and more integrated formfor solidarity work. We hope to encouragethe growing cultural network to liven theorganizing forms of protest with our creativeunderstanding; and we hope to go oncreating possibilities for that kind ofcooperation. AD/HOC/ ARTISTS-DEM-ONSTRATIONS ARE A MEDIUM.Cultural Correspondence 37

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTDrawing from The Independent,Buchanan.J. ALLYN/ARTISTAKA JERSEY ALLYN573 Ninth Ave. #2New York, NY 10036(212) 564-6289by YvonneJerry Allyn (MA Art & Community) is afeminist artist livinq in NYC. She spent fiveyears in Los Angeles where she was aneducational administrator at The Women'sBuilding, and office manager at Astra Artzwhich publishes artists books and High PerformanceMeqaztna; Allyn is a foundingme~ber of the performance art groups TheWaitresses and Sisters of Survival andfounder of the L.A. Women's VideoCenter.As an S.O.S. member Allyn recentlycompleted a performance and lecture tourincluding an exchange about art and antinuclearissues between cultural activists inWestern Europe. TOUring Cuba in 1981Allyn participated in the first cultural exchangebetween visual artists of the ttr!coun TIes, sponsored by the Casa Culturawod~.Cubana in NYC. Allyn's current in-~Ivldual work is audio tape installations andlive perf?rmance art readings.Allyn ISan active member of the feministart co~m~nity and broadens public art byreflectmg ISSues of importance to Women~he strives ~~ create humorous works thatinclude political insights and aesth t· .t ·t Sh e IC Ineg~ly. e is concerned most about the effectivenessof sociallv concerned art.38 Cultural COlTesnotlr/pnr"AIVF/F1VF925 Broadway, 9th FloorNew York, NY 10012(212) 473-3400••••P'#,..,~.:....,,~AIVF is the independent video and filmmaker's advocate. AIVF is a non-profit tradeassociation providing an effective national voice and direct service for independent producera.TheFoundation for Independent Video and Film, Inc. (RVF), the non-profit,tax-exempt sister of AIVF. conducts programs and projects for the independent filmandvideo community and for the general public.Membership in AIVF is open to independent film and video artists (producers, directors,technicians, etc.}, and to anyone interested in the development and growth of independentvideo and film. Membership supports the advocacy work we do, andentillesyou to the services we provide:-Group medical and life insurance-Short film distribution-Seminars-Screenings-Information clearinghouse- THE INDEPENDENT, a film and video monthly magazine, reports on business,technical and legislative matters, and contains interviews, conference and festivalreports,and notices of jobs and funding opportunities.Independents work independently-outside traditional commercial atudto and networkTV structures. AIVF works to protect the interests of independents, to enhance theiropportunities to produce films and tapes of quality, character. and integrity.One year membership, including subscription to The Independent: $251ndividua]s,$15 Full-time Students, $50 Institutions.Her work has been reviewed in Artforum.:rt Week, The Soho News, Village Voice,he L.A. Times and other publications. Ms.Allyn was a 1982 recipient of a Performanceand Conceptual Art Fellowship of the NetionalEndowment for the Arts, and hasrecently received an Artist in Residence~rant from The Women's Graphic CenterIn Los Angeles for two weeks in March1984.. She is a new member of Interaction~rts In NYC, a multi-disciplinary perform-109 arts group, partially funded by the NewYork State Council for the Arts.ALTERNATIVE COMIXGUIDE779 Union StreetBrooklyn, NY 11215Contact: Jay M. KennedyPurposa. To chronicle the alternative-COITIICS movement which be .sixtie~with thgan In the latecom'IX " d e ehmergence of "underground, an tot ereby .to artists who w k ~Ive greater exposurepressive medium~r With comics as an ex-Description of work, C '1'updated refe boo' Ompllng a regularlyrence k to alternative comicbooks published in the U.S. & Canada.Community worked for: Anyon~ In:ested in the artistic potential and hl~osignificance of comics. rfstsCommunity worked with: The a 11 'd d of aler'publishers, collectors, an rea ers I adnativecomics-anyone who can sUPPYditional information on the subject. icSHelp desired: Notineation of new co m ihto be added to the GUide's listings,alo~g~ 01a review copy and its printing hl~Oryd a;e,publicatlon, number of copies pntediti~ns~Iartists included, and number 0 emore than one has been printed). 'I .1·. that arenNotification of old comics ddition'ready listed in the GUide as well as ainformation on those that are. H pub-Hopes: The number of people d se laduh. books alme aIishing expressive eorruc metimeaudiences is growing, b~~ at th~a~dlethosethe number of retailers Wllhngto ke morebooks is dwindling. Retailers can rna other,th . k space tomoney allotting err rae quenUy,faster selling, pub I· icetiIons.Cons e availablealternative-comics have becomealmost exclusively by mail ordle f ff et ontheThis has had a detrimen~a e : h ve greatergrowth of comics as art -arlls ts rand (heffhdifficulty learning of one an~ ~lte"'O"~'audiences. The hope is that e thiS;tu'· dComics Guide will partly rem~ ~ughwhlhtion by providing an avenue t r ofwhatbeeawareartists and readers can comis being done in the neld. ________CATHERINE ALLPORT - - -156 Sullivan Street .~_New York, NY 10012 ~(212)473-0144My purpose is to heal the planet and elevateconsciousness through an intelligent andresponsible use of the medium of photography;to liberate women and to restorefaith in greater possibilities; to arouse compassionin the human being, dare I say, tooverthrow the patriarchy and to restore balanceon earth. I have photographs of antinuclearactions, lesbians, WICCA, New Age,Morocco, Grenada, Jamaica, Peace campsand more.In terms of networking, Iam always interestedin getting the work out and connectingwith other of similar purpose.LINDA ANDRE13 St. Marks PlaceNew York, NY 10003(212) 473-4786I work in sequences of photographs;black and white and color. Instead ofselected fragments of isolated experiencewhich are supposed to be unified by my"personal vision" (a myth), my photographsare an attempt to present fragmentary appearancesas an integrated whole-with thehope that understanding follows. I use mycamera to capture moments when appearancesreveal relationships. I sequence myimages because I believe that some relationshipscan only be seen between individualimages. Ialso want the element of narrativein my work, which is nearly impossile toachieve in a single image.I've done a portrait of my father which invovledphotographing his everyday environmentand routine as well as other familymembers; there are photographs in theseries in which he doesn't appear. I've alsodone a portrait of an ethnically-mixedBrooklyn community in which culturalvalues clash in both single images and in thejolts between images.Iwould like to work next on images whichchallenge the conventions of representationof women; not to deconstruct the receivedimages of the dominant culture (that hasbeen done), but to try to imagine and createnew forms of representation. Iwould be interestedin hearing from or working withothers who share this concern.My work has so far been seen only by anarrow, commodity-oriented artworld audience;Iwant to find ways of having it seenby others.ART & ARTISTS280 Broadway, Suite 412New York, NY 10007(212) 227·3770contact: Elliott BarowitzArt & Artists is published ten times a yearby the Foundation for the Community ofArtists (FCA). It has a national reputation forits coverage of local and national arts issues.Its regular columns on health hazards, housing,business law, as well as the Artists Updatelisting employment and grant opportunities,make it unique in a town full of artmagazines. Editors and contributors includeDonald Kuspit, Eva Cockcroft, ElliottBarowitz, and Daniel Grant.See also: Foundation for the Communityof ArtistsARTMAKERS280 Lafayette SI. #3ANew York City, NY 10012(212) 966-0007Contact: Eva CockcroftART & ARTISTS..---,_-."'-"--"._"..,.....,-s=".,.::..~"='"..:.=._-_ .._~....... "...--........._-_ .~':..""='..::=O;;, _ .-. ::,"=..:.:r..;::.=:':-: -~- ..__ _ _._.._---..............._-~.._"._-_ -, ----=:='.zn;-_._---••"""c......_u .._~~~.::=.':'-~==~Artmakers is a collaborative artists group dedicated to the creation of high qualitypublic art relevant to the lives and work of people in their communities. The group wasformed in June 1983, and currently consists of seven artists from varied artistic and ethnicbackgrounds who are experienced community muralists. We will work both individuallyand collectively on projects. Artmakers also provides information about public artto artists and communities through workshops, slideshows, lectures, and consultations.In addition to painted murals we would like to do block renovation projects thatwould include painters, sculptors, architects, and designers working together totransform an urban environment. Our past projects as individuals have been in housingprojects, senior citizen centers, schools, underpasses, community centers, and buildingsin the Lower East Side and Upper West Side of Manhattan, the Bronx, Queens,Brooklyn, New Jersey, Upstate New York, Connecticut, California, Nicaragua, etc.Themes range from nature scenes for community gardens to local history to statementson war, racism, and ecology. We would like to do more murals dealing with themes likethe anti-nuclear issue and labor history.We are interested in networking with other public art groups and artists to share informationand experiences. We are also interested in contacting other public artists interestedin working with or joining our group, especially sculptors, architects, and landscapedesigners. Current members are: Leslie Bender, Willie Birch, Eva Cockcroft. MariaDominguez, Sheila Harnanaka, Camille Perrottet, A.G. Joe Stephenson.-- ..LJ.._'-";~~-:=-..,---..~ .....~-·~ ~- .-"" -,.--,,!~~~Muraldirecled by Joe Stephenson at Marlin DuPorres Housing Project, Queens.Cultural Correspondence 39

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTART RESOURCES FOR TEACHERSAND STUDENTS, INC.32 Market Street NewYork, NY 10002(212)962-8231 contact: Carmen OsorioA R.T.S. reaches youth in the Chinese and Hispanic neighborhoods of the LowerEast Side of New York through the cultures and traditions of their own community.Founded in 1970 ARTS transmits the cultural traditions of the Chinese and Hispanicpeoples, and inspires youth to continue in them. Performing, visual, and folk artistswork together with young people to continue traditional forms, create new works ofart, and provide cultural events for this community. Arts also cooperates with theFour Seas Players (the largest Chinese community theater in the United States) inmajor dramatic productions performed by local artists and youth for this communityand general audiences.ARTS also works in community-school cooperation. Fifteen artists work directly inthe classrooms of seven local schools to involve children and their teachers in thecultures of this neighborhood. Through ARTS the cultures of this communitybecome positive forces in the education of the children.ARTS documents the lives and traditions of the peoples of this neighborhood andhas published 20 booklets and two major publications "A Pictorial History ofChinatown, New York City," and "The Trictionary." "The Trictionary" is a Chinese-Spanish-English dictionary written by and for the young people of the Lower EastSide, during a three year research project. ARTS also documents its unique methodsand techniques of multicultural education.PEG AVERILL226 Sackett StreetBrooklyn, NY 11231Political Artist. Illustration, design forprint media. I like to do posters and illustratebooks. I work with all kinds of progressivegroups. I work alone because I'm a singleparent with a fulltime job-who freelancespaints, and writes. I would be interested in adiscussion group (which would hopefullyevolve) of other single parent women artists.Ijust want to do good work for good causes.Pillowcases filled withearth from nUclearsites for the SACproject, by HeleneAylon.ASSOCIATION OFHISPANIC ARTS, INC.200 E. 87th Street, 2nd FloorNew York, NY 10028(212) 369-7054Contact: Melody MorenoThe Associationof Hispanis Arts (AHA),f~rmed In 1976, is an arts service organizationwhose primary objective is to gatherand disseminate information on Hispanic~s ac~ivities produced and presented byHispemc arts organizations and artists. TheFromHispanic Arts, the AHA newsletter.Pedro Petn by Jorge SO/oAssociation's technical assistance includesseminars and workshops on accountingfornon-profit organizations, board develop·ment, fundraising and grantsmanship, solcitingfrom the private sector, and op?or·tunities for individual artists for exhibitionsand fellowships.Hispanic Arts, a newsletter, is publishedin English five times a year. We haveamonthly Spanish listing 0f acuivmesif whichnot only lists the events for the month but.fo.cuses on a particular Hispanic arts orgam~'tion. We also supply various local, dallynewspapers with the same. f ation lorIn ormduplication (or extractions- ). th'pubh-In elfcations.HELENE AYLON463 West StreetNew York, NY 10014(212) 924-4133Helene Aylon has been creating works ofprocess and performance with variousmaterials and media since 1968. Her workhas often been about the transforming consequencesof a process applied to hermaterials. She has often created participatoryperformance pieces. Aylon seesherself in the role of "the artist as social activistand participant."In her career summary she describes,some of her work:"In 1982, I organized a cross-country visitto 12 Strategic Air Command weaponssites, in an effort to dispel the psychic numbingthat inhibits us from responding to the;proliferation of armaments, world-wide. Iwas joined by volunteers-all ages, classes,races-and we gathered earth from theSAC sites in 800 pillowcases ('sacs') thatwere donated by individuals we met alongthe way, who wrote their dreams and nightmareson the cases to express their concernwith the survival of the planet. The pillowcases,filled with SAC earth, were broughtto the United Nations in the 'Earth Ambulance,'rescued, as it were, from potentialdanger. The pillowcases were hung on a'clothesline' at Dag Hammarskjold Plaza,spanning 47th Street between 1st and 2ndAvenues. The various earths, contained intransparent boxes, each with its particulartone, color, texture and moisture, were exhibitedlike geological maps on June 12thand July 4th. The entire piece was calledTerrestri; Rescued Earth."BARR UNTO61 Second Avenue 5BNew York, NY 10003(212) 533-7317Barrunto is a Puerto Rican word for thephysical sensation one feels in anticipationof imminent, momentous change-a premonition.Barrunto Dancers believe thatone can shape the direction of those qualitativechanges.Barrunto Dancers are a multi-ethnic networkof choreographers and dancers whosework tells stories of struggle and pride;whose technique draws upon diverse danceheritages; whose performances are reachingour to both dance audiences and communityaudiences who have little access todance. Choreographers includes Beti Garcia,Susan Griss, Myrna Renaud and others.We perform dances about Black, PuertoRican, Jewish, Greek, Ecuadorian and Irishcultures; we create dances using the diversestyles of modern dance, ballet, African,Puerto Rican Bomba, Plena and Salsa, andEastern European folkdance.In 1983 Barrunto sponsored performancesby and worked with visiting artistWilson Pico-Equadorian dancer, choreographer,and professor of dance.JOHN BELL212 W 137th StreetNew York, NY 10030I am a singer, guitarist, songwriter, andperformer of "Songs for Hearts and Minds,"as I call them. Ising mostly contemporary folksongs, but mix in socially or politically relevantsongs from Broadway, blues, and pop.I am of the Woody Guthrie school ofsongsters, out to sing songs that help peoplefeel good about themselves. For me, performingis a kind of leadership. If people giveme their attention, then I want to offer themsomething that helps deal with life, in theform of relaxlnq, healing, informing, empowering,uniting or inspiring them.I have been performing solo for severalyears, mostly in the Philadelphia and Bostonregion, but occasionally out to the Midwest. Iam a disarmament activist, so I have playedat many peace conferences or rallies, in additionto concert work. Besides continuing solowork, I would like to form a group like BrightMorning Star, to have the joy and power ofsinging with others, and to add the dynamicsthat solo perlorming can't offer an audience.BILLBOARDSP.O. Box 1412Ansonia StationNew York, NY 10023contact: Stuart EwenOF THE FUTUREMARK BLOCHaka Postal Art Networkaka Pan aka PANaka Pan-Mbwebwe Instituteaka Theatre of Coincidenceaka Panpost aka Pan manP.O. Box 1500 New York, NY 10009(212) 982-8454Mark S. Bloch is devoted to world peaceand to the health and well being of its inhabitants.Vehicles such as the POSTALART NETWORK (mail art, artist's postagestamps, postcards) and THEATRE OFCOINCIDENCE (performance music andsound recordings) are used to interact withother like-minded souls in the United Statesand around the world.Mark S. Bloch manifests his creativity inthe following way: first and foremost,through creative, constructive day-to-dayliving with a positive mental attitude andsupport for his fellow earthlings. Also:through slide shows, audio-visual presentations,and videotapes; musical and othersound works-both live and on tape; performanceart works (Bloch Is Here, MassMediocrity, Heart and Technology, LaFemme Est L'eventr De L'homme, Theatreof Coincidence, and others); mail art (Panpost);visual art; writing; film (mostlysuper8); xerography; etc.Mark S. Bloch believe in technology, if itcan be used responsibly and creatively andwould welcome correspondence withanyone with similar goals and/or needs.As citizens within a media-saturated society, we are all repositories of vernacularimagery; mostly from the receiving end. Billboards of the Future Is a project designedto employ and encourage the oppositional possibilites buried within this commonlyunderstood visual vernacular. Billboards began in October 1980 when Rav-gunfsrnwas sweeping down the pike at about 150 miles an hour like some demonic batmobileof the mind, and the mainstream media had become so solidly conformist, souniformly cornplicit, that they seemed like a wall closing in.Billboards uses familiar forms: advertising, wall signs, pages from encyclopedias,handbills, newspaper headlines, etc. and uses them to create new, critical images inan 8lf2 x 11 format. The first Billboard showed Reagan, the cowboy, surrounded bysymbols of American "freedom" (the Statue of Liberty, a farm house, monuments,etc.) and the words: "America, Reagan Country" in red, white, and blue. ThisBillboard was xeroxed and mailed and began to become a regular series. There arenow more than 40.Each Billboard contains a dual message. The first message is the explicit questiondealt with by the image; a message of specific social and political awareness. The secondmessage-conveyed by the obviousness and simplicity of production -is "Youcan do this too! Try it!"Billboards are distributed through the mails, as hand-outs, wall plasterlngs, andmulti-generational photo-reproducing and passing on. Some has appeared inmagazines like Radical America, Processed World, and KPKF Billboards.40 Cultural CorrespondenceCultural Correspondence 41

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTTHE BLACK FILMMAKER FOUNDATIONWNYC-TV1 Centre Street, Room 2711New York, NY 10007(212) 619-2480/1Contact: Ayoka Chenzira, Program Director; Victoria Benitez, Office ManagerThe Black Filmmakers Foundation (BFF) is a media arts center established to supportthe independently-produced work of black film and video producers. BFF sponsorsprograms and services designed to facilitate and encourage this work, and activitieswhich will promote their public recognition and support.In approaching the problem of how to get black independent films into the blackcommunity when the traditional channels (movie theaters, commercial television)provide no access to the black independent producer, the BFF responded by institutinga film exhibition series called "Dialogues with Black Filmmakers." The seriesutilizes non-traditional sites in the community like churches, hospitals, discotheques,and community centers for the screenings. A discusson is held after each screeningbetween the filmmaker and the community audience, giving the filmmaker invaluablefeedback from the audience and enabling the community members to reacha better understanding of the filmmaking process.T~e BFF distribution service distributes films by and about black producers andpublishes a ~atal?g o~black independent work available for rent, purchase, or lease~y schools, hb.ran~s,.fIlmfestival programmers, church groups, community organiza-~on.s or other institutions. A growing number of groups and organizations are becom-I~g Interested in ?rganizi.ng black independent film series and festivals. The BFF provtdesprogra~mIng.servlces and assistance in the selection of films, speakers and lecturers,techmcal assistance and expertise in advertising and promotion BFF hgr d bl k fll . . as proamrneac I m senes and retrospectives nationally and in Paris Be lin Asterdam, London, and a multi-country tour in Africa. ' r , m-~e BF~ :taff is.available to consult with film and video producers by appointmenta.n~ In.addltlo~ will.act as a re,ferral service to individuals and organizations that specializeI~handling fll.~makers specific problems. We consult in three main areas' I}production fund raising; 2) distribution: and 3) exhibition. Most appllcatio 'fgrants to fund th~ producti?n of independent film and video works must be sUb~~tt o~~~ a ~.ot-f~r-dr~fl! spo~sonng organization which agrees to receive the grant and pr~de~sdcaa mkInlstrahon. The BFF provides this service to Black independentan filmVI eo rna ers.The BFF maintains and makes av '1 bl b .films by and about blacks do at'ae k Y apPoInt.ment a video cassette library of, cumen s, bo 0 s and articles abo t bl ks l h .Other projects include "Black Film Focus" at WNYC-lV u ~c Sin t"e media.dependent Film Criticism," and a new quarterly newsleti::.ymposlUm on Black In-JOAN BONAGURA140 West 86th StreetNew York, NY 10024(212) 799-9694WILLIE BIRCH224 E. 7th Street, #1New York, NY 10009DANIEL BROOKS480 Sixth Ave.Brooklyn, NY 11215(212) 420-8196I am an activist, organizer, and media'generalist' working with all forms of multimedia;my focus is sound and sonic environments.I work with film, Video, radio,and slide/tape presentations both as eventsand as documentation. I'm interested indeveloping forms of public access communicationwhich are easily learned by individualsand community groups.Aside from the independent filmmaking,I'm involved with organizing and networkingcultural workers and activists. I've beeninvolved with the Radical Humor Festival,Ad/Hoc/Artists, ARTISTS CALL AgainstU.S. Intervention in Central America, andPaper Tiger Television. I have also workedwith Cultural Correspondence, and helpedto coordinate this directory.I've spent a year in southeast Asia a~dyear in Australia, and am interested Indeveloping media on the trans-national flowof information, technology, and culture.See also: AD/HOC/ARTISTS andPaper Tiger Television.CESARCAUCEPUBLISHERS ANDDISTRIBUTORS30 BoweryBox 389New York, NY 10002(212) 789-0737Cesar Cauce Publishers and Distributorsis committed to publishing, promoting anddistributing books for progressives, left activists,and all those concerned with socialjustice. We seek readers who rely on thealternative media and small progressivepresses for critical information necesssary todistinguish the truth. Out titles include suchtopics as environmental concerns, women'sstruggles, national liberation movements,Marxist analysis of economics, U.S. laborhistory and literature from the CWP.The Reagan budget cuts demonstrate thatthe ruling class seeks tighter control overliterature and culture. Books that differ withcapitalist ideology, or challenge the public tocritically examine governmental repressionand the dying economy are being droppedoff the book lists of major publishers. Manysmall writers' groups have been pressed tothe edge of financial ruin, while the publishinggiants continue to pump out sex-lacedromances and poorly written melodramas.Cesar Cau ce Publishers and Distributors isdedicated to books that serve progressivepeople's needs and which stimulate peopleto do more to struggle for justice, peace,and equality.Children's Art Carnival, school dayprogram.CHILDREN'S ART CARNIVAL62 Hamilton TerraceNew York, NY 10031(212) 234-4093contact: Betty Slayton Taylor, executive directorThe Children's Art Carnival is a school of the arts committed to the development ofchildren's creative potential and critical thinking abilities. The program is designed toencourage young people to become excited about knowledge and learning. This isaccomplished through direct participation in the arts. Now in its fifteenth consecutiveyear of programming, the Carnival presently serves young people ages 4 to 20.Founded through the Museum of Modern Art in 1969, it is the first offspring of a majorart museum to become an independent, multidisciplinary educational institution.Staff: 6 administrative; 35 artist/teachers.Serves the five boroughs of New York. Manhattan base serves 75% students fromthe local Harlem community, 25% from around the city. The school day program isalso offered in Queens, and the after school program is also offered in the Bronx.Workshops include: Creative Writing, Printmaking, Video, Sculpture, FigureDrawing. 3D Construction and Puppetry, Costume Design and Sewing, StillPhotography, Offset Printing, Graphics and Commerical Design, Cultural Trips tothe City.Programs: In the the Regular School Day Program, students from public andparochial schools accompanied by their teachers, attend three to six one-hourcreative art workshop sessions over a period of weeks.In the Pre-School Program, Headstart, Day Care, and other pre-school groups areintroduced to basic creative arts activities to develop their abilities, and togeographically demonstrate the correlation between the development of each child'sindividual symbols and understanding of public symbols.The Program for the Handicapped exposes youngsters who are handicapped to avariety of creative art activities designed to meet their particular capabilities. Groupsare limited to a maximum of 12 children to' ensure that every child receives thenecessary attention to accomplish her/his tasks.The Afterschool and Evening Program includes activities for youngsters from ages4 to 7 designed to promote language growth and the child's individual development.The Carnival conducts a Summer in the Parks Program with open air workshops inthree parks in the Harlem area each summer. Basic creative art activities are offered inaddition to the creation of murals on walls and/or comfort stations.Joan Bonagura is an artist who is an advocatefor environmental preservation. Herpu~ose is. to help people develop visualacuity by blrdwatching and once sensitizedto become environmental advocates or activists.Bonagura has been a birder since1968. She leads bird watching groups inNew York City. She has led groups forHunter College and the New Yo kBotanical Garden; offered walks ~o~embers of the Women in the ArtsFoundatlcnand the Women's Caucus for Art/NewYork chapter: During the next migrationseason, she will walk with the NYU GelleuDIVIsIon.in42 Cultural CorrespondenceI am a sculptor, painter, muralist andteacher. My work reflects my hopes, dreamsand struggles.'Cesar Cauce was born in Cuba, but grewup in a working class ghetto in Miam~.Though his parents tried to instill in him anticommunistpolitics, Cesar, like many younpeople, grew up seeing injustices anJwanted to do something about. Wh"le at-It. Itending Duke University, he decided Itodevote his life to actively serving peop e,leading a union organizing drive and writingfor the CWP. On November 3,.I979'h~:was murdered in Greensboro, N.C., w Idefending demonstrators against the Kla n -Nazi guns with the only weapon he had -his stick. Cesar's love of books, his thirst f ortruth, his spirit of self-sacrifice and courag~were the hallmarks of his character a~.represent a spirit of hope that will never iein the hearts of those fighting for justice.Cultural Correspondence 43

C k f attack mentality that had characterized so tion about the U.S. anti-nuclear movementby Eva oc cro tmuch feminist and left activity in the late (including the PADD-CC slide show, "We70's, radical, socialist and spiritual feminsts, Want To Live!- The Art of June 12th") 10"If we can simply witness the destruction of community and labor organizers, socialists, Europe to share with aetiviststhere. On theiranother culture, we are sacrificing our own marxists. gays and straights, blacks, browns, return, they brought examples of Europeanright to make culture," the Artists Call native Americans, and whites, were willing anti-nuclear art activity for exhibit here. Inagainst intervention in Central America to at least listen to and tolerate each other. L.A., where the ecology movement isparti·statement begins. More than a thousand ar- These two beginnings, the "rainbow coali- cularly strong, this was the second year ofttsts in New York and thousands more in 26 tion" poor peoples power concept of the "Target, LA," a weeklong anti-nuclear artcities around the country were concerned counter convention and the ecologically and performance festival.enough about this fact to rise up in protest in oriented feminist consciousness of the The feminist element in the anti-nuclearJanuary 1984 and participate in the most Amherst conference provided the basis for a movement is stronger than merely an overmassiveartists' protest since the Vietnam revitalized left conscensus. Although some whelming participation of women in leader·war. artists worked on anti-nuclear themes ship roles. It permeates the structure (orThe artist activism of the past year con- throughout the 1970's, it took the freeze rather, apparent lack thereof) and partinuedto fall into two different organization- movement, congressional and media de- ticipatory performance Quality that cha.ra~·sal modes, traditional political structures bate to give this activity impact and impetus terlzes much anti-nuclear activity. ThIS 15and non-hierarchical mainly feminist ex- beyond a small circle of initiates. Unfortun- perhaps the most radical and importantperimentation that developed in the first stir- ately, artist activism cannot achieve signifi- aspect of the international feminist peacerings of post-Reagan militancy. The Reagan cant momentum until the society as a whole camps at missile sites around the world. Atpresidency, with its bellicose stance on not just radical activists perceive a "crisis" the summer 1983 encampment at theforeign relations, neglect of social pro- situation. Artists are a part of the leading Seneca army base in New York State, theregrams, attacks on women's rights, and talk edge of polit! rca I acj' IVIy, it but on Iy whid en were no ee ers. D' ecrstcns , wer e made byof "prolonged" winnable nuclear war, pro- th ere ' ISsu If" icten t socta '1 ferment can th ere b e consensus in {sometimes ) ,In term,'nablevtded a spur to the disorganized and squab- significant ar tiISt ac j" tvtsm. meetings. Th e actions a Iso were striclly .bling left activists to "get their act together," In 1983 artist activism, although hitting egalitarian with the encouragement of rnunite,and make their voices heard, every socia ' I' issue, centered on two move- divtdual courage within a group struc jure .This new wave of artist activism began in men ts: th e an fi-nuc Iear an d anti-interven- As women of all ages c1imbe d over thefence1980 with the "counter-convention" staged tion struggles. After the tremendous na- of the army base into the arms of the MP'sin the devastated Catherine Street area of tilanaIactivity stimulated by the Freeze and arrest, their sisters chanted andsalorhn g. ,t e South Bronx and a feminist conference t ! 1982 I f the dl 1h Id t movemen 10 cu minating in the each one. In jail also, in spite 0 , 'earn A herst, Massacbussetts "Women J t sand Life on Earth Eco-Ferninism for the massive une 12 March and Rally in New ficulties and pressures from authon le b ,EIghties" Suddenly, Instead of the sectarian nucle, artirfsts continued to create anti- decisions were made in meetings and Ynuc ear pe ormance group took mforma- conscensus.DUringArtists call's "La Verdadera Avenldad La ASoho's West BroadwayIn the air and on th ~ : A~ertcas" banners commemorating the Latin American struggle covered(I, 3, 5), leslie Bender (2), Eva Cockcroft (:)5 e: Hove: Aaron Roseman. Below: I to r. Artmakers, Inc. artists (Joe Stephenson, an oward Kline (6). Photos: Eva CockcroftThe actualization of the concept "creatinga new feminist culture" is similar to that ofparticipatory performance art events inwhich a ritualistic structure at least momentarilyunites a disparate group. These ceremonialand ritual structures have multiplefunctions: emotional unity; disciplinethrough rigid control of the types ofbehavior permitted; and the transformationof even the mundane into art. The actions ofthe European anti-missile demonstrators,the mothers at Greenham Common inEngland or the Germans who formed a64.8 mile human chain around the U.S.base, the camps themselves, came to symbolicallyreflect demands that are as muchcultural as political.The Ad-hoc Artists for November 12,tried to introduce similar non-hierarchicalstructures into the form of a mass demonstrationin Washington by working with thepolitical organizers throughout the process.The concept was to dramatize each of therelated issues-from immigration to discriminationto intervention-by feeder demonstrationsat symbolic sites. Much of theartwork created for the demonstration attemptedto embody this kind of participatorystructure. The "peoples monument"was designed as a structure incomplete untilcovered by the artwork contributed by demonstratorsfrom other cities and towns; the"Dancers for disarmament" attempted todraw bystanders into their performance;and the "peoples songbook" (which nevergot distributed) intended to provide thewords to relevant songs so that everyonecould join in. However, in spite of the goodintentions of the artist organizers, their effortswere overshadowed by the totality ofthe demonstration which followed the traditionalstructure of major speakers and entertainersup on a podium and an audiencebelow,The type of structure used by a political!artistic event is usually determined by theperceived aims of the organizers. When"results" are felt to be more important than"process, "traditional hierarchical structures-steeringcommittees, big names andmedia stars-become the method. The actualform of the event reflects symbolicallythese decisions.the organizers of Artists Call Against U.S.Intervention in Central America in NewYork City, many of them veterans of theanti-Vietnam struggle, saw their goal as tryingto impact the mainstream media and artworldin order to have a direct political effect.For this reason they used traditional"top-down" organizing techniques. Theywent after the mainstream exhibition spacesand artists first, while at the same time keepingthe event open to all artists both in termsof participating in the exhibitions and organizingactivities.The response from the first Call in June1983 which proclaimed "We are startingdown the Vietnam road again," was overwhelming.What began as a local art benefitexhibition, quickly became a nationwideEach Marcher in the Artists Call "Procession for Peace" bore the name of a disappearedperson from Central America. Photo: Dona Ann McAdamsevent. In New York City, within the firstmonth, more than 20 exhibitions spacesagreed to participate and seveal publicationsagreed to put Artists Call on the coverin January. Eventually, the New York partof Artists Call became a month of continuousperformance, film, poetry, and exhibitionsevents including over 30 spacesand more than 1000 artists. There were alsospecial exhibitions of art from Central andSouth America, photography, drawings byrefugee children, and cartoons. In defianceof the January cold, two street events werealso held; the "True Avenue of theAmericas" in which banners representingpolitical and cultural heroes from theAmericas were hung on the main street ofthe Soho art community, and a "Processionfor Peace" by 500 single file black cladmarchers each carrying the name of a"disappeared" Central American.44 CulturalCorrespondenceCultural Correspondence 45

The fence at Seneca Army Depot, Sept. 4, 1983. "Pillow case delivery," by artist Helene Aylon. Photo: Catherine S. Allport.Opposite page: The Crowd at the November 12th rally. Photo: Eva Cockcroft.In other cities, Artists Call activities werealmost totally autonomous with some helpand coordination offered by New York.Thus the structure in each city depended onthe organizers in that particular location.While some cities followed the New Yorklead and emphasized art exhibitions, othersconcentrated on performance, poetry,public art, Video, etc. This readiness by artistsaround the country to participate in aforeign policy issue like the protests aboutCentral American policy rather than only insomething like the anti-nuclear issue whichdirectly affects their own survival, is a tremendousadvance in artist consciousnessfor the 19805_The traditional and non-hierarchical organiZingmodels each have their virtues.Many artists, performers, filmmakers, exhibitionspaces, etc., who were drawn intoparticipation because of the perceived artworldimportance of the event developed anew consciousness of the problem in theprocess. In addition, the impact in themedia, the artworld, and the general publicwas far greater than a strictly left event couldhave made. There is ironically, especiallyamongst the very young and pure, a kind ofreverse elitism which would like to denythose who "have made it" in societal termsthe right to join in protesting injustice. In addition,Artists Call, coming almost 20 yearsafter the original Vietnam protests, tookplace in a context saturated by the effects ofthe feminist movement with its non-elitistideas. This provided a continual emphasison trying to combat certain inherent elitiststendencies endemic to New York, andyounger and Latin American artists played alarge role in the organizing work.If the traditional organizing structures sufferfrom a tendency to reinforce the hierarchicalvalues of the larger SOCiety,the feminist"conscensus'' model also has certainserious problems aside from the obvious"inefficiency." The incredible time andenergy drain involved in acheiving consensuson every issue leads to a different type ofcoersion by the few-those with the patienceto outlast everyone else. Also, the apparentlack of leadership, sometimes disguisesa hidden power structure, more difficultto deal with because it is not admitted.What is needed, and seems to be happening,are differing combinations of elementsfrom these two models.In addition to anti-nuclear and interventionistevents, artist activism also revolvedaround local issues, In many cities, the proble~~! real estate speculation and "gentrificat.lo~were the inspiration for a variety of~rtlstlc actiVity. The use of the artist housingIssue as a wedge for gentrification in theLower East Side in New York City inspiredtheatrical performances by the 'SeditionEnsemble, stencil brigades and exhibitionsby PADD's Not for Sale group, and newcoalitions among artists and community residentsto keep the developers ~ut~nd Cali-In many cities from Australia ti rsfornia to Connecttcutt. billboard alte~a~ ahave become a growing art fo~~. fo;la'tinnew understanding and sympa Y h the- h me throuqamencan culture as co Nicaraguacultural interchange between, des haveand the U_S_ Several cultural bng' _ 1983traveled from the U.S. to Nicarag uam Ond f thisand more are planne orsummer,I did nottheir return, many of thes~ g~o~C:et~erasdisband but rather rername tOng"' d' d to promo 1organizations de lcate . N- ,r'o",h it tion In lC "'::lunderstanding of t e SI ua 1f h .tuationinthrough poster exhibitions 0 ~h~~:tiOns,er-Nicaragua through poster e 'zatio n oftides, slide shows and the organ!more trips. 'wing adi-For 1984, :~e outlook. ISt~;:orksisanvism.OneadlvltyalreadylO h -dplannedA- t Apart erexhibition of Art qams h FoundaforFall 1984 and sponsored bY~iS~and thetlon for the Community of A A artheid.UN Special Committee on tf on theOther activities will focus .dl:~~iJ electionquestions raised by the presld e on the- - t twhile continuingpressul0 pu , m iSSUes,. nd raCISfreeze Intervention. a tid ene~, h ope a >1Even a quick look at t e sc f art adiv~represented by this direetor~ 0 that lhegroups and m- dtIVItduaIs indicates. brightanded art ISfuture of socially concernfull creativity as we II as relevance.46 Cultural Correspondence CulturalCorrespondence 47

NORTHEASTCINEASTE200 Park Avenue SouthNew York, NY 10003(212) 982-1241 .Contact: Lenny RubensteinCineaste is a quarterly dedicated to. thesocial and political interpretation IIof IfrllmsII d and Europe as we as omfr°dmHOdY~~~nd Third Wo~ld filmmakers.In epen e 76 C" ste haspublished reguarly since 19 ,rne~1 tbeen raised as "a trenchant, eterna y ze.s -p . " which features exclusIVe 10-ful magazme, h hterviews articles and film reviews t at avebeen cailed "critical, perceptive andt ell -itten " Free-lance submissions are a wayswrm . rf f the arread,but since a significant po lO~? .tides are assigned to staff writers, it IS wise toqueryfirst.Circulo de CulturaCubana, Inc.GPO Box 2174New York, NY 10116(212) 245-8829Contact: lraida LopezCirculo de Cultura Cubana, inc. (CCC)was founded in 1979 by Cubans livingabroad to promote cultural and educati~nalexchanges with those living in Cu?~. ~mcethe center of our culture is Cuba, It IS vitallyimportant for Cubans living abrQad to est~blishties with the cultural life of our nativecountry.The Circulo also recognizes that Cubansliving abroad have manifested our culture ina different setting. Knowledge of these developmentsis important for Cubans living inCuba. Therefore, cultural exchanges in bothdirections are the fundamental objective ofthe Circulo de Cultura Cubana, Inc.Cuban culture and exchanges with Cubaare of interest to other Latin American peoples,particularly those of the Caribbean.Circulo de Cultura Cubana, Inc., likewiseseeks to disseminate our culture amongother Latinos residing in the United Statesand Puerto Rico. Consequently, anyone interestedin Cuban culture can become a Circulosubscriber and participate in all its activities,regardless of his/her national origin.Subscribers receive a 25% discount onCuban books, records and posters, distributedby Edicions Vitral, Inc. (GPO Box1913, New York, NY 10116); the CCC'squarterly Bulletin; and discount on all CCCactivities. Also, they may participate in specialtrips to Cuba.Circulo de Cultura Cubana, Inc., is thepublisher of AREITO magazine.CITYARTS WORK~H~~'J~£03 (212) 673-8670417 Lafayette St. New or bok' Gupta executive directorcontact: Kathleen Za row: I ,or Vivian Linares, artistic director. ftt organization that sponsors and is devoted toW k h Inc ts ancnprv d .Cityarts or sop, ". d d blic art especially painted murals an mosaics.. f unity-mm e puouc ou, . kthe creation a com m f ups and individuals who Wish to now moreCityarts also acts as a resource or groabout public art. f h ds and artistic expertise of each particular com-Programs are designed to Itt e ~e~ of the owners of the property to do a mural,Aft curing permiSSion .munity grou~. .er se . members of a group and help them plan and paint thea Cityarts artist Willwork With I rojects in which the individual artist plays aC· rt I 0 sponsors mura pmural. itya s as. d aintin the mural. Applications for this program are aclargerrole in plannmg an ~ o~ s and individual artists.cepted from both commumty g\ r ur slide registry from which we assign projectArtists are encouraged to a P P y k O h O s Registry artists also receive priority noticeIf unity rnura wor s op . . .directors or c~mm . des bmissions and opportunities for residencies.of projects which re:tu;~ 1e~~;a~d has spon'sored over 80 works of art in New YorkCityarts was faun e In. . IMurals Conference which brought togetherCity. We.also initi~ted the flrl~t~:~I~~: country and was the catalyst for .forming thecommumty murahsts from a.. 11 b sed on Manhattan's Lower Eest Side. the pro-National Mural: Ne~wo:k'1~~~m~; ~urals have received national and internationalgram became citywide 10 d .: numerous publications and shows.atte~tion and have appeare 10 Is from artists which address specific politi~al andCityarts encou~ages proposa t ff '1\ work to raise part or all of thefundmg. Wesocial issues, and Ifaccepted. ~ur ~ a m~ella to artist who wish to develop their owncan also provide an organ1~atlona U e organizations that are intensively inublicart projects. Our project co-sponsors arvolved with all of the issues that affect their neighborhoods.THE COALITION OF WOMEN'S ART ORGANIZATIONS2102 Bronx Park EastBronx, NY 10462(212) 824-1211contact: Sylvia Moore Washington, D.C. office:Washington Women's Art CenterHouston office:1401 Harold Street 1821 Q St. NWHouston, TX 77006 Washington, D.C. 20009., CWAO is a national organiZationThe Coalition of Women's Art Org_aOlzahons,. f' ortunity for all artistsandrepresenting arts groups that are worklO~ for equah~~:tr was formed in 1977 inanseeking to enhance the status of women In ~he arts. . . the efforts of manyeffort to achieve full equality for women 10 the arts by UOl~~g d nationally intheorganizations that are already working to~~rds this g~alloc~:a~~ased constituencyUS Over 95 organizations have already JOIned, creating a t behalf of women. . . . h h·t t th art establish men on dgroup capable of speakmgwlt aut ony 0 e h . al Iiterary,anin the arts Membership is comprised of organizations from t' le Vls~d~cational andperformin~ arts. The coaHtion concentrates its efforts priman Y onlobbying activities. f CWAO the NationalCWAO has already had a vital impact. Due to the efforts a. d .. du~lartistgranIS;Endowmentfor the Arts has instituted genderblind judging o~~n 1~~8, sending. zOOCWAO held the first national women artists lobby day beh Ifof women Inthedelegates to Capitol Hill to speak to members of Congress on fa the first Internah. organization or Midarts, and recently CWAO acted as t e sponsonng k during the .tional Festival of Women Artists held in Copenhagen, Denmar ,Decade Conference on Women. raphic membershiPCWAO makes a concentrated effort to maintain a broad ~e~ of women's arton its board, as an expansion strategy for extending the dla ~~enetwork systelll,issues to all parts of the United States. It is designed to be aCWAO has forrnedarecognized to speak for the concernS of ~omen ,10 the a7:i rthe rights of allartistscooperative relationship with National ArtIsts EqUlty to wor 0 'jin relation to legislation affecting artists in ~ne~al. d rates negotiable.~a~Membership: $10, individual; $25, organizational. Red2~c~ st Beutel Road, 0to: Dorothy Provis, Vice President for MembershIP, 1 aWashington, Wf 53074.NEW YORK CITYBillboard by the South Venice Billboard Conection Committee.EVA COCKCROFT280 Lafayette St. #3A(212) 966-0007Once a year on my birthday, I try todecide what I'm going to do when I grow up.The hard part is narrowing it down to onething at a time because that doesn't reallyconform to my reality. Everything Ido involvesart and politics, but the form keepschanging.Mainly, I'm a community muralist. Formany years r ate, dreamt, talked, painted,documented, and promoted the muralmovement. Painting murals is still what Iprefer doing when Ican find the work. I'vepainted about 20 murals, some individuallyand others collectively, all community based,including one in Nicaragua. Currently,I'm part of the Artmakers group in NewYork. Through my involvement with themural movement, I also became a writerand photographer. Over time these skillsgrew from being means to an end to becomeseparate interests with their own internaldynamic. I began to write on things otherthan murals and photograph migrants orrevolutions with the same passion as I haddocumented murals. In the last few years, asthe themes requested by communities havebecome less militant, I have turned to twoother outlets for my painting: easel paintingsthat explore the personal with the politicaland street stencils. Iled a stencil brigade forArtists for Nuclear Disarmament for June12th, and did anti-gentrification stencilswith PADD's Not for Sale group. Last summerIgraduated to billboards with the SouthVenice Billboard Correction Committee.As I worked to earn my daily bread, Ilearned how to do design and editing. I amthe designer for Cultural Correspondenceand also did some editing for this issue.Through my association with Susan Mc-Carn, Ihave begun to dabble again with oneof my first loves, theatre; between paintingbanners and organizing exhibitions, I didstreet theatre for Artists Call's True Avenueof the Americas.See also: ARTMAKERSCOLLABORATIVEPROJECTScj 0 Ktkt Smith149 Ludlow StreetNew York, NY 10002(212) 228-6705or Jane Dickson:(212)398-1299Collaborative Projects (Colab) is a roughly50-member organization in existencesince 1978. The group began because ofartists' desire to incorporate to raise governmentfunds for projects they wanted to do,rather than for administering and maintainingan art space. Colab has never maintainedoffices or space of any kind on a permanentbasis, and officers are rotated yearly.Colab and Colab members have organizednumerous significant New York exhibitionsand projects, including: the NewCinema, film exhibition space; the RealEstate Show (parent group of No Rio, whichColab also sponsored); the Times SquareShow; the Ritz show (together with WashingtonProject for the Arts), in Washington,D.C.; and Potato Wolf artists televisionseries on Manhattan Cable, in its fourth yearof production.Colab has also been the path to dollars fornumerous individuals, e.g. Scott and BethB (for a film called The Offenders) andCharlie Ahearn (for Wild Style).Colab is a membership organization andits activities reflect the concerns of its artistsmembers. Membership has rotated consi-NORTHEASTderably over the years. The group is not speclficallypolitical, although many of itsmembers and projects are. Colab has embodiedthe twin ideals of artists' union and artists'corporation, and its members tend to beyounger non-established artists interested inthe opportunities that such an organizationoffers them.CONTACT IIPUBLICATIONSPO Box 451 Bowling GreenNew York, NY 10004(212) 674-0911 or 522-3227Contact: Josh Gosctek orMaurice KennyContact II Publications publishes a bimonthlymagazine of poetry and small pressinformation, which was begun in 1975 inthe tradition of William Carlos Williams' similarearly Twentieth Century publication onEuropean literature. The focus of ContactII's bimontly is distinctly American, butbroadly multi-ethnic and multi-cultural.Contact II also publishes books of poetryand literature, broadsides and postcards,many of which would not be published byestablishment presses. Published authors include:Amiri Baraka, Kathy Acker, SteveKowit and Wendy Rose. Under the nameCON· BERRY Distribution, the organizationalso serves as a distribution group in theNew York City area for small presses andinnovative publishers from across theUnited States, presses which are creatingand publishing the work of writers and artistswho are in the vanguard of contemporaryAmerican culture.......Youths working on a Cltyarts workshopmural project.Cultural Correspondence 4948 Cultural Correspondence

NORTHEAST.'NEW YORK CITY NOR', lEASTCON-BERRYDISTRIBUTION451 Bowling GreenNew York, NY 10004*EJl'.Brings together a group of small pressesthat are creating and publishing the work ofwriters and artists who are in the vanguardof contemporary American culture.See also: Contact II Publications.DANIEL DEL SOLAR •182 Grand StreetNew York, NY 10013(212) 431-3629As an audio-visual producer, I work withcommunity and special interest groups tocreate effective communication pieces, bethey radio, TV, film, arprint. I have workedcollectively over the past decade in the productionof these media and would like towork with other producers and with individualsand groups needing A.v. products.Have done media production in variousSpanish-language nations as soundpersonphotographer, producer and teacher, andwant to do more of this kind of work.I am interested in self-supportingAV. groups which work with the community.In 1982, I worked with thecollective which produced the threehourTV broadcast of the June 12thNew York City anti-nuke rally. I canwork with groups to determine optimalformat for their comm .r f unrca-Ions, rom fliers or TV spots to radioprograms or some mix of these.DENTURES ART CLUB ~598 Broadway, #11 ~New York, NY 10012contact: Stan Kaplanand Joan GiannecchiniDentures ArtClub (DAC)wasfounded in1980 by Joan Giannecchini and StanKaplan. for the purpose of producing collaborativeart on socially relevant thS'I h emes.pecra emp eels is placed on developingn~w and unique methods of engaging audiencesoutside the traditional gallery/theat~e settlnq. The "club" mode of~r~an~zab?n was chosen to facilitate the participationIn DAC projects by non-artists onan ad hoc basis. For the "Say Goodbye toNuclear Weapons" Project in June 1982Dentures ~rt Club membership reached 7S'though Glannecchini/Kaplan constitute it~only full-time, permanent members~AC's.first project in 1981 consisted of a~nes of life-like figures in tableaux of urbanviolence erected in subways and parksaround Manhattan. The project sought toremind people that under no circumstancescould such outrages be considered"normal." In conjunction with this we producedand distributed a series of silkscreenedt-shlrts depicting street crimes onone side and on the other the words "FightBack." Currently, DAC is producing a seriesof music boxes on the themes ofReaganomics and pornography. Our secondmassive anti-nuclear project, "MAD,"is going around to various granting agencies.DOAN KET DANCE '- ,COLLECTIVE .... .lec/oTaller Latincamericano ~19 W, 21st Street, 2nd Floor "New York, NY 10010 ,D~an Ket (.Vietnamese for "solidarity") isGlone Nazario and Hallie Wannamaker'snew dance collective. Doan Ket is committedto ~aki~g ~olitical dances addressing~omen s solidarity, anti-nuclear, and antimterventionistissues. Gloria and Hallie arecoordinating the development of a newdance rehearsal/workshop/performancespace at Taller Latinoamericano anorganization that shares location with abroad r.ange of political and cultural groups.Glona Nazario has worked as a dancerand choreographer for 13 years in bothNYC and Puerto Rico with various com-Exitstencil album.pentes. including Barrunto Dancers (seeseparate listing), and is the recipient of a1984 NYSCA choreographer's fellowship,Hallie Wannamaker has worked as adancer and choreographer for 13 years inthe NYC/Boston area and is known for herpolitical dances, which are "accessible.specific and personal, though universal inaction" (Dance Magazine), and have "interestingand amusing movement" (Con'temporary Dance News).Doan Ket's concert at the Taller inFebruary, '84 included: "The Commies," apiece addressing anti-communist mdoctrinationin the U.S.; "The Rights ofSpring," a humorous theatrical piece aboutmen harassing women in the streets; and"Doan Ket," a piece using Vietnamesemusic and poetry by Meridel LeSeur, anddedicated to the international solidarity of allwomen.·}.\IJ~TI~I:: ~\I~I~S~\'I~ NI::I::I)·®EXITSTENCIL MUSICINC.PO Box 22New York, NY 10009(212)477-3121Exitstencil is an umbrella title for an informationnetwork that deals with four recordlabels-Crass, Spiderleg, Xntrix, and CorpusChristi. There is also Exitstencil Press,which has put out a book, A Series of ShockSlogans and Mindless Token Tantrums, andseveral magazines. The book is dedicated to'Those who might like the ideas but can'tstand the music."FCA (FOUNDATIONFOR THE COMMUNITYIWIOF ARTISTS)•••280 Broadway, Suite 412New York City, NY 10007 ~f'(212) 227-3770 'YJFor more than twelve years the FCA hasbeen a powerful, outspoken voice for artistrights. Our newspaper, Art & Artists (formerlyArtworkers News) has won wide recognitionfor its fresh coverage of issues that concernworking artists-employment, housing,legislation, hazardous materials.Seminars and a hotline provide information,counseling and referral services, as wellas practical advice on questions membersface. Group health insurance for members isanother service.We also believe that art, and the use societymakes of art, is in itself a critically importantissue. We have been a leading voice in exposingsome of the destructive uses of art,and more importantly, in suggesting practicalways for art and artists to better connect withsociety. We are not afraid to tackle head onthe social issues which affect artists.RICKY FLORES788 Fox Street, #3kBronx, NY 104S5(212) 842-3178.. ---I am a freelance photographer specializingin documentary photography and experimentingin surrealistic photography. Iam interested in any work in which myphotography can be used for social change.I photograph mostly in the South Bronx,concentrating on the Puerto Rican community.My project is now expanding tocover the New York metropolitan area.Presently I work alone, but I am interestedin working with other artists in documentingthe poor and working class of all ethnicbackgrounds and to use work for socialFASHION MODA2803 Third AvenueBronx, NY 10455(212) 585-0135According to the definition the directors of Fashion Moda put fottn irrtne January1981 issue of Artforum, "Fahion Moda is impossible to define because by definitionwe have no definition." Yet within its lack of structure there emerges a philosophythat goes something like this: Fashion Mode believes in the idea that art can be madeby people who are known and unknown, trained and untrained, middle class andpoor. It is graffiti scrawled across walls. It is the cross-cultural concept that all peopleare one and the same, a theory that the directors hope will ripple out from the NewYork community, into the national community and subsequently into the world.Fashion Moda would like to be a franchise.Fashion Moda is a place for science, invention, technology, art and fantasy. Its propername is the word fashion written in the four major languages-English, Chinese,Spanish, and Russian. Its base of operations since 1978 has been a storefront in theSouth Bronx, a neighborhood decribed as "an area of severe devastation," but onethat FM sees as crucial for implementing their idea and escaping the chic art scene.(Ironically, FM has become the darling of the art world.)But the storefront isn't the only spot where FM exhibits art. It likes, for example, totemporarily "borrow" abandoned buildings. The storefront itself might be the scene ofCity Maze, a labyrinth built throughout the entire room by two artists, or The Hall ofFame, face castings of neighborhood people.So in keeping with its defiance of definition, Fashion Mode's exhibitions defy classification,except perhaps to note that they are beyond even what alternative museumsare showing and they might turn up almost anywhere.change. I am interested in working with anygroups or individuals in creating projectsand implementing them with the purpose ofusing projects to promote social awareness.I have worked wtih political publications andcommunity groups that deal with issues thataffect the poor and working class.My short term goal is to document the lifeof the Puerto Rican community in NewYork City. My long term goal is to create amulti-media organization of artists thatspecialize in political, social, and educationalprograms that focus on issues that affectthe Latin American community.SARA FOXc/o ZEEKS Unlimited40 Ocean Parkway, #6-HBrooklyn, NY 11218Ido:e lndoor and outdoor murals and design._ ZEEKS-Life-size, light weight sculpturesof people.This year my work was selected to be on afloat for the Columbus Day Parade. One ofmy Zeeks was also used by the Nuclear DisarmamentCommittee, June 1982.My hope is to create works that will communicatewith the public on both issues andthe human condition!FOUNDATION FORINDEPENDENT VIDEO ANDFILM (FIVF)AIVF/FIVF625 Broadway, 9th FloorNew York, NY 10012See: Association of Independent Videoand Filmmakers, Inc.-AIVF.Graphic by Tom Keogh.50 Cultural CorrespondenceCultural Correspondence 51

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTiJr :~7r;e~EPERTORYNew York, NY 10003(212) 254-5060Contact: Michael CohenCOMPANYThe Fourth WallRepertor Ielude musIcians writers Y 5 a political theater companchemists and ca~enter ,actors, and directors, as well as 5 Ywhose 200 members in~dedicatedto thetheate:'a:~~tsandla~yers,doctorsands~~~al ~or~~s andteachers,status quo of our societ arum of Ideas which explore en s e Fourth Wall isnuclear proliferation, r:Cl Its productions are all aimed at A lampoon, and attack theOur society This season w sm , the arms race, and other 0 men.can banking politicspolitical mUSical com d e ~sent the satinc reVUe THEPJ;:ss,ve reahtles rooted l~renewed with tod ,e v. EEDOM AIN'T NO' B RBAGEOF EDEN hTOkTOAND THE~~~~~cb;~~~~sstThlrd year, a~~; c~~dCH,ERRIES, a~~i~roc Jam REET and MUSI ren s rock mUSIcalThe Fourth Wallhas prod d ' C LIVE', a Irvepoliticaland cO~produced by Parallel ~~e two documentary films dirt~~~~c~~C~~~;%U~I~P~~jt;':~~~~"X~~~R\~:~a:~~e~h:i~:twarl~~In London, Moscow a accalmedatover20interna· ER TO M-X (1982)Austin. It opened in'N:~ ~ouston, and aired on telev:~?nalfll~fest~vals, honoredJanuary, 1983. London's n or~at the Bleecker Street ~?n stations in Atlanta andmentary yet produced" Ime ut called it: "The most merna for three weeks iTkh,eFourth Wall tou~s all its sh kr POwerful anti-nuclear docu~roc n roll at rallies d ows, ta mg to the sAIN'T NO BOWL OF ~~~strations, teach-ins and c:~~:~h political Comedy andhas played to audiences thRRI~S toured England in 1981 nltybenefits. FREEDOMschool and communit roug out the East Coast a~d Europe in 1982 athe Truck & Warehou~¥~:~~:rY~ar ..r~und at speciail~~:r~~~d~en's shows play ~~your community, school, and U~i~rl~ ~rmation aboutbookin~ weekday shows atn a, call Michael C h OUrproductions into52 0 en at 254-5060Cultural CorresPOndence .From "Freedom Ain't No Bowl of Cherries "a Fourth Wall political musical comedy. 'FRANK A. FITZGERALD •212 E. 89th StreetNew York, NY 10028(212) 722-6793See TIME MACHINE/Home Movies.CHARLES FREDERICK ~.!!!!!t803 Ninth Avenue #4N ~New York, NY 10019(212) 757-5583After wishing through most of mychildhood to become an artist, and to makeany yearning for a world free of poverty andviolence become an imagination of it; andthen after 15 years in New York in leftpolitics and as a student, teacher, writer,and theater artist, I have come to comprehendand name myself and my workwith the only title that collects alloftheseactivitiesand all of these impulses within meand articulates their integration: r am acultural worker.As a cultural worker, I am able to imaginewith and for others as well as for myself, andin my continuing wish for a new world, Iamno longer trapped only in personal fantasy.Iam now released in the collective strugglefor freedom, while at the same time Ican enjoyand trust the power of my own voice, asits strength grows with the voices of others.I have helped form six theater collectives,some self-assertively political, some selfassertivelyaesthetic and avant-garde. Thishistory was part of my struggle to make artwork that would awaken an audience bothsensually and rationally, emotionally andintellectually. The work of a cultural workerin all forms and media requires paradoxicallyboth a greater discipline and a greater indulgencethan the work of the alienatedbourgeois artist. The discipline to comprehendthe world for its reality; the indulgenceto imagine a world for its possibility.Activities: Board of Directors for theAlliance for Cultural Democracy,AD/HOC/ ARTISTS, contributing editor,Theaterwork. I write poetry, stories andessays. It is time to form a new performance/theatercollective in New Yorkdedicated to experimental art and politiCS.When I was in Nicaragua in December1983, I learned that revolution is not only tobe imagined; we can make it happen.o0..-- _0.----."".,...,oCanneAmere~-~~Bitter CaneoooooTHE FRIENDS OF HAITI .4 1Dt.iiIl.P.O. Box 348 _, 11i ,.New York, NY 10956 ••••(914) 425-0654 contact: Jill ~~(212) 854-0536 contact: Ken, Matt, and TedFriends of Haiti was organized in 1971 togenerate political and material support forthe liberation struggle in Haiti. Friends doesinformational work such as radio and televlsionbroadcasting, newsletter and broadsidepublication, slldeshow and film presentationto college, university, and community audiences.These projects all contribute toFriends of Haiti's primary goal of providingmaterial support to the Movement Haitiende Liberation (MHL).We publish Haiti Report, a quarterlypublication designed to trace and anaylzethe development of the Haitian liberationstruggle within the context of the present internationaleconomic system and the neocolonialposition occupied by Third Worldnations within that system.We have a slideshow called Haiti: TheWeak Link. It is a 45-minute sync-pulsedslide-show utilizing 295 color slides recentlytaken in Haiti. The music is primarily folkloric.The slideshow uses clear provocativenarration to give simple yet in-depthanalysis to Haiti's complex problems.We also collaborate on a library in whichwe display and carry different art, poetry,posters, and more in the future ... alongwith materials needed for the paper HaitiProgress. Haiti Progress is a weeklynewspaper printed in New York City.Information is also available throughFriends of Haiti on Bitter Cane, a newdocumentary from Haiti Films which wasfilmed clandestinely in Haiti and which takesan in-depth look at the history and moderndayrealities of this Caribbean nation. BitterCane was recently awarded 2nd Prize for adocumentary at the Cannes Film Festival.GALLERY 345/ ART ~FOR SOCIAL CHANGE354 Lafayette StreetNew York, NY 10012Gallery 345/art for Social Change, Inc.,is a nonprofit organization which, throughthe medium of the visual arts, documentsthe many issues facing society today. It currentlyhas 24 exhibits which include "TheChildren in Crisis Project," "Throw AwayPeople- The Plight of the Elderly," and"Hunger." The exhibits travel throughoutthe country educating and catalyzing peopleto take the next step towards involvement.The Children in Crisis Project features theplight of missing, murdered, and abusedchildren. It has been installed in the Senate;it aided in the passage of the MissingChildren's Act.THE GARDEN OF EDEN ~184 Forsythe Street •New York, NY 10002Contact: Adam PurpleThe Garden 0/ Eden is a dynamic organicsculpture on Eldridge Street in Manhattan'sBlock 421, Lower East Side. It may be describedpartly as a non-linear. minimumtechnologyurban agricultural art-projectdesigned to demonstrate how abandonedbulldozedlots (in even the most "depressed"ghetto) can be converted into abundantlyfruitful and beautiful open-spaces withoutnecissitating any government or priuate funding.Its aesthetic orientation continues tobe as a non-uerbal "teaching-machine" alternativeto the unwise, uncritical, unhealthy,and unchecked exploitation of theEarth's surfaces, etc., in/by the planet'sac/ occidental half even though such continuedexponential exploitation risks speciesextinction.The Garden's expansion has already ensweredthe question: "What-minimum nurnberof tenement-size lots needs to be'greened' to achieve the return of such songbirdsas finches, thrushes, etc.?" Answer:"Three." It was discovered simultaneouslythat one person could "green" one lot peryear by hand (and bicycle!).GENE GLICKMAN30-66 33rd St.Astoria, NY 11102(212) 728-8384Music director of the New York StreetCaravan, Modern Times Theater; conductorof Four Parts of the Movement Chorus,and coach of People Moving People.Available for composing and/or arranginginstrumental and vocal music.See also: Above Mentioned OrganizationsCultural Correspondence 53

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTBARBARA GEORGE322 E. 11th Street #17New York, NY 10003(212) 777-1059I co-produced with Barbara Kopit (212-477-1196), the 9-hour, 50-act cabaretmarathon "CLUB ROCKEFELLER" at NYC's Radical Humor Festival 1'82) and amthe creator-performer of an outrageously informative one-woman comedy and horrorshow called "EVERYTHING I EVER WANTED TO ASK ABOUT NUKES ANDWAS AFRAID TO KNOW.:'I play eight characters including Little U, a 5-billionyear-oldUranium atom; Mr. P.R. Gamble, Director of U.S. Waste Management;The Goddess; Bikini Island Woman; and Radiation Wizard-providing an entertainingcrash Course on nuclear weapons, power plants, waste, radiation, and advertising.The show, which I wrote three years ago and update continually, is designed as aresource and celebration of the safe energy/disarmament movement. In 1983-841am touring all around the U.S., sponsored by activist groups, colleges and theaters.Performing fees, loans, and small gifts keep me precariously afloat.I tour in a panel truck with a full-size replica of a Cruise missile on the roof-andspend lots of time talking with people on the street and in gas stations. Mediacoverage of the show and missile have been excellent.I'm looking for a video documentary artist to accompany me on a portion of thetour, to record interviews with local activists and responses to the missile.I have an effective support system built up through ten years' cabaret and theaterwork and lifelong involvement in progressive cultural and political movements includingfive years of anti-nuclear activism. I want to share my experience and extensivepublicity and booking resources-including technical and artists servicestypewriter, phone, xeroxing, computer, and contactS-With like-minded per~formers. Together, on a co-op basis, we could hire a booking manager.GODDESS FILMSP.O. Box 694, CathedralStationNew York, NY 10025See BARBARA HAMMERPENNELOPEGOODFRIEND205 Third Avenue 8BNew York, NY 10003(212) 533-1025Pennelope Goodfriend's work focuses onthemes depicting the interaction of conditionsand the complexities within the humanpersonality. This is illustrated in the myriadof responses the interplay between photographerand subjects elicits. She says, "Thequalities of anonymity and self awarenesswhat a person chooses to reveal are inherentin my work. The layers of Communicableunderstanding at once unify andisolate individuals."One of Pennelope Goodfriend's photographicseries is called Role Models and Realities;it is made up of portraits taken fromall Over the world, which are encircled with atext.54 CulturalCorrespondenceMARA GOODMAN252 15th StreetBrooklyn, NY 11215(212) 499-7773I sing songs of various cultures, trying toput the music in a left context without beingrhetorical. So far, the protest songs havebeen Yiddish, Latin American German(especially Brecht), and from the u.s. Inlonger concerts, classical songs, folk songs,and lullabies from around the world are included.I want my singing to help build acommunity that is committed to socialchange, that treasures different culturesa~d. that creates a better life for everyone:It s .Important to me to be expressing thefeelings and aspirations of a lot more peoplethan just myself.. In the past I've made music for progres-~lVedance and theater and performed at ralh~~,benefits, meetings, street fairs, seniorcitizen centers, nursing homes, nurseryS;hool s , and concerts. Some of the issuesI ve been concerned with are housing reproductiverights, Southern Africa, the Middl~E~st, Central America, and self-determInationfor oppressed groups within theU.S. I work in groups, with accompanistsor acappella, and I'm always interested i~wor~in.g with other people. r also teachm~Slc In senior citizen centers, to youngchildren and to private voice students.I hope to use music to fight the coldnessand indifference of the modern world; toput the focus back onto human beings, thecloseness we feel to each other and the responsibilitywe all have for each other. Iwant to be called on."If you see my cryingDon't just pat my shoulderHelp me go on, right onGive your strength to struggle"Berenice Reagan"Give Your Hands to Struggle"JUDY GORMANJACOBS/ONE SKYMUSIC129 Columbia HeightsBrooklyn, NY 11201(212) 875-3527As a singer, songwriter, and guitarist,Judy Gorman-Jacobs draws on an unusuallywide repertoire of songs and styles: blues,jazz, traditional and contemporary. Withwry humor and deep caring she sings," ... songs about women and working folks'troubles, songs about lovers and peoplewho struggle." From another of her songs,"This Earth" her words are, "Den's youwant to taste freedom, and peace in this life?I believe we can make it whole again, Ibelieve we can make it whole!"Judy has toured extensively throughoutthe United States and Europe. She hasgiven solo concerts at clubs, festivals, a~duniversities and has shared programs withsuch diverse artists as Pete Seeger, Odette,Tom Paxton, Mendel LeSeur, Bruce 'Utah'Phillips, Frankie Armstrong, Sweet Honeyin the Rock, and James Earl Jones."Right Behind You in the Left HandLane" and "Live at Folk City, NYC" areJudy's two albums she performs the musicin the films, "Women in Silk Mills," and"Cathy's Fantasy." Along with JamesTaylor, Rita Marley, et. al, she appears "InOur Hands," a film about the U.S. peacemovement.Pete Seeger has said ?f Judy Gorm~ndJacobs, "She is always thinking how to fm'the right phrase the right song to hit the naJ l, .Wright on the head to shoot the arrow stralg, I toto the heart of the matter. I hope she ivesbe 100 and is able to bring her songs to ev~rynook and cranny in this suffering world.In addition to concerts, she offers thefollowinq workshops: Women and Music, :Historical Perspective; Roots of Peace anEnvironmental Music; American Labo rSongs; Relationship Between P 0liti lies an.dMusic; and Earning Your Living as a Mustcte.i(or, How to Give up Your Day Job).ISADORA GUGGENHEIM/THE RADICAL DEBUTANTE .11090 Amsterdam Ave. Apt. 8J~New York, NY 100~'~ ..Hailing from the heartland of theMidwest, The Radical Debutante movedeastward to pioneer cotillion dance clubsfor political misfits who never learned thereal meaning of socialism.The direction of my work focuses on thevisual narrative, exploring physical andspoken rhythms, presenting the personalas political, and implementing otherphysical techniques into dance such as:kung-fu and sign language for the hearingimpaired. My work is my attempt to livewith personal experiences and also gobeyond them. I am concerned with the-ordinary.I believe commonness is the embodimentof the extraordinary.I am a political artist. I am affected bywhat people say, do, and think. The evolutionof my themes are dependent on myearlier work as well as the ambience of contemporaryculture. I identify the relationshipbetween external societal stimulus andinternal influences on my work. The conditionsunder which we live in our society demandthat questions (and solutions) beraised to better existence.I have recently joined Dancers for Disarmament,and am choreographing a workentitled, "Lifting Belly," based on the GertrudeStein poem.BARBARA HAMMERP.O. Box 694, CathedralStationNew York, NY 10025(212) 866-6422~!~)~"-Barbara Hammer is an experimental film and performance artist whose work hascontributed significantly to a growing feminist cultural movement. Her "striking individualwork reflects the heritage of Maya Deren in the development of a cinema ofpersonal expression. Through a rhythmic, incantatory style, Hammer creates imagesof high emotional intensity that concretize fantasies and fears. Evocative of Deren,too, is the creation of vivid picture-language: complicated cinematic metaphors thathave the vertical dimensions of dreams rather than a linear, horizontal narrative structure"(Women's Media Festival). Barbara Hammer is currently concerned with creatingenvironments where the viewing audience becomes the visual makers of screenimages, and by doing so fuses the creative and spectator aspects of film.In her own words, Hammer writes: "I usually work alone to try to be true to theclosest interpretaion of my vision/experience/perception. I like to experiment theprocess works from handling the medium on a one-to-one basis, although I could en.vision it being passed around in a Circle. Sometimes r work in association with feministartists and teachers and on feminist international and national issues.""I would like to be able to know that my work will be seen after completion and thatsomeone would do the distribution, publicity and necessary requirements to have itseen. Recently, I received a grant and that has made all the difference in my conceptionof film. I now shoot more expansively, work with more 'scopeful' subjects andwith an intent to reach a wider audience. I am presently available to present and talkabout my films in person and/or with a live performace."Write for more information and a catalog of films available for rental or purchase.HERAaz W. 20th StreetNew York, NY 10011(212) 924-4518Hera is an environmental artist who dealswith the juxtaposition of religion and viclencein Western Culture. About her workshe states:"I believe that it is human destiny to flyand to orbit. .. not only physically, but psychically.Flying and orbiting symbolize forme a transition from submersion in the mundaneto a creative overview. I would like tobuild a prototype of an orbital vehicle in theshape of a woman's body doing a swandive. She will embody for me the ability tofly, float freely, orbit, explore, receive,transmit, and return to earth. She will be asymbol of pioneering and risk-taking. In thepressured world in which we live,! feel that itis important to offer conduits to grander visian... to reconnect the public with theirability to take risks and reap the rewards ofexploration and imagination."Hera works with groups which she formsand/or with other groups and artists.Cultural Correspondence 55

NORTHEASTIWIHENRY STREET • • •SETTLEMENTLOUIS ABRONS ARTS V.FOR LIVING CENTER466 Grand SI.New York, NY 10002(212) 589-0400contact: Barbara TateThe Louis Abrons Arts for living Centercontinues Henry Street Settlement's traditionand commitment by offering quality artsclasses, workshops, performances, and exhibitionsto the residents of the Lower EastSide as well as to the larger New York Citycommunity. Built in 1974 and dedicated bythe First Lady, Betty Ford, the AFLC is anaward winning arts complex which housestheaters, galleries, dance studios, andclassrooms for the performing and visualarts.THE HUMANCONDITION416 2nd StreetBrooklyn, NY 11215Contact: Beverly Grant(212) 788-3741;Frank Negron 485-2249;Chip Wakatama 384-1654The Human Condition is a multi-nationalmusical group composed of Beverly Granta North American, Frank Negron a PuertoRican, and Chip Wakatama from Zimbabwe.We perform as a trio accompaniedby one guitar, percussion and fiddle. Wesing in several languages-English, Spanishand Shona-and address many issues pertinentto the world we live in, Our basicmessage is one against oppression and forthe necessity to fight back and seize controlof what is rightfully ours...We formed as a group ten years ago specificallyto make music that talks about thenecessity to change the society we live inand the need to unite in order to makechange. Our material is anti-sexist antiracistand anti-imperialist. Our music encompassesa Wide range of musical stylesfrom country-western, reggae, rhythm andblue~, folk-rock, Latin, African, to jazz, a reflectionof our multi-national character. Wegenerally perform in a concert atmospherebut have, on occasion, provided dancemusic. The Human Condition has performedthroughout the Northeast at antiward~monstrations, prisons, communitybenefits, block parties, colleges, high~hools, nightclubs, coffee houses anti-Imperialist demonstrations, unions' radioand television. We will continue to do so aslong as the conditions we sing about continueto exist.56 CulturalCorrespondenceNEW YORK CITY~~.......::t~ .......:::-.:.HERESIESP.o. Box 766, Canal Street StationNew York, NY 10013(212) 431-9060contact: Sue HeinemannF-!~RESIES is an idea-oriented journal devoted to the examination of art andhohhCSfrom a feminist perspective. We believe that what is commonly called art can, ave,~ political impact, and that in the making of art and of all cultural artifacts our~e~tltJes as women playa distinct role. We hope that HERESIES will stimulatehisi ogue around radical political and aesthetic theory, encourage the writing of thelstorylof jemina sapiens and generate new creative energies among women. It willbe apacewhered' it b . Ithf ,. tversi y can e articu ated. We are committed to the broadening ofe de mltion and function of art.HEI~ESIES is structured as a collective of feminists, some of whom are alsosocia IStS, marxists iesbl f ..I . . ' Ian errunists or anarchists' our fields include painting,seu pture wntmg anth I I· 'd hi iakl ' ropo ogy, lteratura, performance art history architecturean mma mg Wh·1 h h . .. ' ,II f . let e t emes of the individual issues will be determined by theco ec tve each issue 'II h d·ff ..t kor het r WI ave a I erent editorial staff made up of women who wanto wor ant atlssue as w II b f h b. d d e asmem erso t ecollective. Proposals for issues may econceive an present d t h HERas . t d . h h e 0 t e ESIES Collective by groups of women notsociete WIt t e coll tl E h I .th ec rve. ac Issue WIll take a different visual form chosen byin~~~~~~~:~ron.si?le. HERESIES will try to be accountable to and in touch with theappearanc efmmhlst.community, An open evaluation meeting will be held after theeo eac issue To' for t ·11b .order to collect m . . PICS or Issues ~I e announced well in advance mbroadSides willbe a~~~al from an.y s?urces. I~IS possible that satellite pamphlets an?tion, HERESIES p .uced c?~tmumgthe discussion of each central theme. In addt-Production b th provhlde~trammg for women who work editorially, in design and in, 0 on-t e-iob and through workshops.We see ourselves as part of a largercultural movement in this country which isgrowing and being fed by the struggles peopleare waging throughout the world againstthe monster in whose belly we exist. Webelieve in a future and hope our music willmake a contribution towards one. Thus, wegenerally close our show with a song thaIsays, "Together We Can Move Mountains,Alone We Can't Move At All."INALSE (INSTITUTE OFARTS AND LETTERSOF EL SALVADORIN EXILE249 W. 18th StNew York, NY 10011NEW YORK CITYJesu~ ncmec Goldonez. 1981INALSE came into being in order to plana campaign and a series of exhibitions ofSalvadoran culture. INALSE was foundedto help Salvadoran artists in exile and tobroaden the understanding of Salvadoranhistory as a people and as a nation.INALSE founded and helped to coordinateARTISTS CALL Against U.S. Interventionin Central America-which hasorganized artists in 27 cities nationwide,over 1,100 in New York alone, to do performances,exhibits, publications, events, etc.in solidarity with Central America.JIMBOCO RECORDS1123 Broadway, #1013New York, NY 10010(212) 924-3737Jimboco Records, established by JimReynolds to record the newest and most innovativerock the city has to offer, has alwaysbeen ahead of the times. Reynolds,who has extensive experience in the musicbusiness, has put together a recording programwhich emphasizes the undergroundbeat and atmosphere of New York Citynightlife and the roots of rock and roll.Drawing upon the inspiration of the visionaryscience fiction writer Philip K. Dick (thecatalog is numbered "UBIK" after one ofDick's novels) Reynolds presents the jackhammer-rhythmicheart-beat of the NASTY-FACTS; the gutsy and stylish rhythms of theNAILS; and the "Dada-Delta, Punk Blues"(Michael Shore, Soho Weekly News) of theHI SHERIFFS OF BLUE. Also on the Jombocolabel are records by DIZZY AND THEROMELARS, and the ROUSERS.THE INDEPENDENTAIVF/FlVF625 Broadway, 9th FloorNew York, NY 10012The Independent is the publication ofAIVF, the Association of Independent Videoand Filmmakers, Inc., a non-profit tradeassociation for independents. See AVIF listingfor more information.NORTHEASTPAUL KAPLAN212 W. 85th StreetNew York, NY 10024IKONP.O. Bo'.1355, Stuyvesant Station New York, NY 10009I am a songwriter, performer, songbookeditor, and writer on music. My goal is to helpmake good contemporary folk songs availableto other musicians, both professionaland amateur . To this end Ihave contributedsongs by myself and others, articles, andgood and bad advice to such periodicals asBroadside, The CooP-the Fast Folk MusicalMagazine, Sing Out!, the People's 5ongletterand Come For to Sing,What I like and try to write are mature,unsentimental love songs as well as songsthat shed new light on contemporary issues,all the while maintaining a high entertainmentquotient. My most well-known songsare "Call Me the Whale" and "Henry the Accountant."Iam a member of Hey Rube! performers'organization, the New York Musicians' Coopertive,and Songs of Freedom and Struggle/People'sMusic Weekend.Some of my credits:Producer of three posthumous Phil Ochsalbums on Folkways Records.Coauthor, with Dan Milner, of A BonnieBunch of Roses - Traditional songs of England,Ireland and Scot/and, published byOak.Producer of LP "Paul Kaplan - Life on thisPlanet" on my own label, HummingbirdRecords.IKON was founded in 1966. Susan Sherman, one of the original founders and theoriginal editor, is also the editor of the present magazine, IKON was discontinued in1969 during a time of intense political harrassment after publishing seven issues.IKON re-emerged last year, but now not only as a cultural and political magazine, butalso as a feminist magainze, an independent magazine committed to radical socialchange.The logo of IKON contains the words "Creativity and Change" and that is preciselywhat IKON is all about-the inseparability of the creative process and social change,the connections that move people to action because they speak from our own experience.and not from empty and often meaningless rhetoric.IKON is dedicated to fighting racism and anti-Semitism, homophobia, sexism andeconomic exploitation and to presenting the reality of third world women, lesbianwomen, Jewish women, working women, women representative of all parts of oursociety, in all the creative diversity of our experience as well as the experiences ofwomen from other countries, particularly Central America, Latin America, and theCaribbean.IKON, from its beginnings a collaboration of a poet and a painter, has also beendevoted to integrating design and content, to healing the division between the poeticand visual image.We need subscriptions, donations, women to add their names to our mailing list.We need women to know we're here. We need names of women outside New Yorkwhere it's harder to find the magazine and names of bookstores who might be interestedin stocking it. We actively invite manuscripts and art work. We're only justbeginning again and we need the active support of the women's community to continue,so we can keep on putting out issues like."Women in Struggle: Seneca, MedgarEvars, Nicaragua-Making the Connections" and all the other issues and events wehave in mind. Subscriptions are $9.50 for two issues.C!1'turalCorrespondence 57

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTGARY KENTON20 Butler StreetBrooklyn, NY 11231(212) 875-5556I am an independent publicist and a freelancewriter. On the public relations front, Iwork with various artists, managers or manufacturers,mostly having to do with themusic business but also including otherdisciplines. My current clients include PhilipGlass, Gramavision Records & Films, TheNew York State Council on the Arts,Folkways Records, Karla DeVito and a fewothers.On the writing front, I am Records Editorof Country Rhythms magazine, and I contributeregularly to several music-orientedpublications, including Musician magazine.Other recent publications in which my bylinehas appeared include The WashingtonPost, TV Guide, Diversion and People. Iamcurrently working on a book on Moses Aschand Folkways Records.Ialso devote my professional energies toaiding a few political groups, notably TheCitizens Party and The National WritersUnion.TOM KEOUGH321 F1atbush Avenue, #8Brooklyn, NY 11217(212) 789-1666To really work to change society is alwaysvery difficult. Really rock the boat, and thecaptain would rather have you in the brig-ortossed overboard, but with the galley futl ofslaves and with nuclear torpedoes and "conventional"mines in the waters, the boatneeds to be rocked-and it needs more completechanges than that too.Generally I work as an illustrator. I try tomaintain a balance between illustrating exposuresof the horrors of our exploitativewarring world and the beautiful hopefulstruggles of people trying to bring solutions tothe problems. For the past two years I'vebeen working with health care teams who offeralternatives to the disgraceful medicinefor-profitsystem. We work with the developmentallyhandicapped, who are amongthe most oppressed and least protected of thehealth/profit system's victims. (RememberWillowbrook? Such NY concentration campsare still running.) By using art I have beenable to develop teaching aids, to help peoplecreate and express ideas and emotions, helppeople develop motor skills and emotionalstrength, and to create recreation and entertainment.A~sts must be part of the groups of peopleworking to better the world. Artists should gettogether with other artists to shareproblems/solutions, learning experiences58 CulturalCorrespondenceand to build much needed support groups. Iwork with the people of the World Wa:r IIIIllustrated collective. We have organizedvisual shows for concerts, published amagazine, and worked with communitygroups who needed art to promote and aidtheir struggles.I often work in partnership with Seth T0-bccmen. We've just completed a ten-monthproject for Maryknoll Missions. The project isdesigned to respond to a recent Reagan directiveordering more complete CIA infiltrationand monitoring of missionaries and religiousleaders. Seth and I are now hooking upwith a church children's group to produce artto replace the traditional images Christian arthas generally presented to people.I'm also a member of the Eye of the Hurricane,an affinity group organized to have astrong presence in the growinq civil disobediancecampaigns. Besides blockading andbeing hauled off, the Eye is now developingguerrilla theater. Seth and I will be giving ourtheater a dynamic visual impact.KINGSBRIDGECOFFEEHOUSEKingsbridge HeightsCommunity Center3101 Kingsbridge Terrace onSummit Place Bronx, NY 10463Contact: Harriet Lessel (212) 884-0700Contact: Eric Levine (212) 884-8607Our purpose is to allow talent of all kinds,especially but by no means exclusively communitytalent, to have a chance to play,sing, dance, and whatever else. The hope isthat we will be able in the next few years tobring various polarized ethnic groups togetherunder one roof. We are still small, butgrowing; we welcome anyone who wouldlike to share with us or just come and enjoy.In the future we may feature performers.We offer a rare opporunity for musiciansto work with a real cross-spectrum audience.The coffeehouse is held every Fridaynight from 7:30to 1O:00p"m" and is locatedin the North Bronx (call to get travel information).KITCHEN TABLE:WOMEN OF COLORPRESS, INC.Box 2753 Rockefeller CenterStation New York, NY 10185(212) 308-5389 Contact: Barbara SmithKitchen Table: Women of Color Press,Inc., is the first publisher for women of colorin North America. Women of Color Press,lnc., is committed to producing and distributingthe work of Third World Women ofall racial/cultural heritages, sexualities, andclasses that will further the cause of ThirdWorld women's personal and politicalfreedom.Among the books available from KitchenTable are: Cuentos: Stories by Latinos, AlmaMoraga & Mariana Rorno-Carrnona, eds.;Narratives: Poems in the Tradition of BlackWomen by Cheryl Clarke; Miwa's Song byFay Chiang; /n the City of Contradictions byFay Chiang; She Had Some Horses by JauHarjo; Home Girls: A Black Feminist Anthology,Barbara Smith, ed.: This BridgeCalled My Back: Writings by Radical Womenof Color, Cherrie Moraga & Gloria Anzaldua,ed.; and many othes. A brochurewith complete listings and prices is availble.JANET KOENIG280 Riverside Drive, Apt. 3ENew York, NY 10025(212) 865-3076I am an artist and graphic designer wholikes, for example, to make postage stampscontradicting state propaganda and to designbooks, posters, and brochures for radicalcauses."A'-'n Inft'OOM .............. "ELIZABETH KULAS714 Amsterdam Ave" #17New York, NY 10025(212) 420-8196 (leave message)My work involves the following themes: anti-war, anti-nuclear power, interpretingmedia and advertising imagery messages, corporate crime, class consciousness, andpeoples' liberation. It is two-dimensional and usu~lly takes the forms of large wallpieces which are also reproduced in more accessible book form. Some .w~rks aredrawings using black and white ink and color. Others .are photo.graphlc Images.Some works mimic corporate imagery or use the professlonal media for~ t? .get a~alternative view across. Other works are story-like explorations of an individual sstruggle in relation to a particular theme like nuclear power or war. . .I work alone and with other people. I need both situations to fe~d my. sp~nt ~ndtemper the strength of my voice. In Political Art ~ocume~t~hon/Dlstnb.uhon(PADD), Ifind contact with other socially concerned artists energlzm~ as we.1Ias mf~rttThe projects we do can more easily take broader scope than ISpossible for ~ndividualwork. Also, artists and art activists need a center to organize for our own m-t d those of the people of this country. We need a place where we can meet toteres san h d 1 . . thi ntryhelp the strong people's cultural movemen~ t .at is ~ve opmg 10 ISCOU '.I am working on two projects in which 1 d like to mclud~. other people. One. ISabook on the experiences of women who were eithe.r stenh~ed or suffered ser.Jousmedical problems as a result of wearing the intra-ut~nne devtce, the Dalkon Shle.ld.The other project will explore the history of women 5 br~asts and th~ change whichthey have undergone under capitalism in terms of chemical contamination, cancer,and the climate of sexism.BARBARA KOPIT322 East 11th StreetNew York, NY 10003(212) 477-1196Activi t production coordinator for live events, film, and video. Currently workingc IVIS 't" qanizing a grass roots performance circuit of coffee houses andwith commuOl res or fit"P"t bring local groups together to raise money or a tema ive procabaretsurpose. 0 h d h f" that will encourage people to come toget er an ave un, un-J .ects to create spaces .. d discuss, share resources and informatio~ a~d get involved, to gam ?reater ex-WIO , f tivi t artists and entertainers. Special mterest: comedy and satire. Wantaposure or ac \VIS . ? G" hI b bl ck? Have a video project that needs domg. et In touc .c up on yo~r t °ncl"ude Greenwich Village Halloween Parade in New York City (7ast projec s , "F " I '82 N Y k) CI b R k feller (8 hour cabaret for Radical Humor esttva ew oryears 'P rfu ?C eArl",stsfor Nuclear Disarmament Caravan (Spring '83 NortheastCity) e ormmg " " rf P rfU.S.'and Canada)ana a ,fnternational Jugglers ASSOCiation Summe est e ormance(Video)"Cultural Correspondence 59

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTLABOR THEATER100 E, 17th St.New York, NY 10003(212) 505-5026Contact: Bette Craigor Chuck PortzThe LABOR THEATER takes the side ofworking people and presents that point ofview to the world at large. Since 1975, tenoriginal LABOR THEATER productionshave taken to the road, playing mostly inunion halls and community auditoriums.Past productions have included dramatizationsof labor history, such as: The Wobbliesand Working' Our Way Down. The companyis currently touring The Bottom Line,a satirical musical review on Reaganomics;and A Peaceable Kingdom, a utopiananimal fable with music.LAMAS: LATIN AMERICAN MUSIC IN ALTERNATIVE SPAI)S434 W, 120th Street, Suite 8A New York, NY 10027(212) 663-0288 Contact: Gustavo Paredes, Executive DirectorLA~AS wa~~onceived in 1979 to present the non-traditional aspects of LatinAmencan musl~ ~nperformance series in the New York City metropolitan area.The non-trad,!,onal aspects of Latin Ame~ican music have not been explored in a~erforn~ance senes at any of New York City s experimental music or cultural institutionspnor to the LAMAS music certes The primary intent of the LAMAS ' ,.ISto present noted and emerging musicians/composers.whose work eflmUSICsenest 'dllrectlons. '. . . r ec s uniqueIn rnusc composttton and instrumentation.LAMAS consists of various components: LAMAS FREE SUMMER MUSIC FESTIVAL, CONTEMPORARY MASTERS SERIES, MEDIA: TV/RADIO and THEVISUAL ARTS. LAMAS initiated its inaugural season by presenting a frf u If' '1980b I eesummeres Iva a muse In y ~n ec ectlc group of Latin American musicians/compos_ers throughout New York City. LAMAS continues this tradition every summ ThContempo~ary Mast~rs. Series W21Sinstitute~ during 1983-84 to premiere ~;igina~~~~k by artists ~om~lsslone~ by LAMAS dunng the fall and Winter seasons. LAMAS'initial productions In media are a 50-minute videotape documenta titl d"MUSICA" hi f h d ry en I e, a istory 0 t e evelopment of Latin American music in th U tt dStates and a national radio series, "A Look at Contemporary Latin Americ: M nI e.clans'/Com posers" f eatunng ' I'rve recorded music and interviews distnbnt dusr-.satellite. I u e viaIn .1984, L~MAS will present a photography exhibition depicting the LatinAmerican rnustcal culture experience in the United States. The show is availabl fexhibitions outside the New York area. e orIn the future, LAMAS s~eks to expand the scope of its programs and tours beyondthe New York metropolitan area through establishing relationships with viablcultural institutions. LAMAS also plans to develop and distribute new media pro~grams for broadcast TV and radio.LAUTAROMusic of the AndesPO Box 1270, Cathedral StationNew York, NY(212) 864-2347 or927-6596 (Zoe Tilton)Contact: Maria Elisa CuadraLuis Espinoza, Co-Directors'Lautaro performs the authentic music of60 CulturalCorrespondencethe Andes mountains utilizing native instruments.Selections include pieces from ChileBolivia, Peru, Ecuador, and Argentina. Thegroup has played at universities and collegeson the East Coast. They have also performedat the American Museum of NaturalHistory, Lincoln Center's Alice Tully Hall,Channel 4, WBAI, and clubs like RinconTaino, Casa de Circulo Cultural de Espana,Chile Club, etc,CAROLE ROSE LIVINGSTON83 Washington Place ~New York, NY 10011 WRaised in the Fort Greene Housing Project,Brooklyn, and firmly rooted in theworking class, I work in several overlappingcircles:As a teacher of English, remedial skillsand women's studies at Brooklyn College;As a scholar-my doctoral thesis, nownearing completion, is on the earliestEnglish and Scottish broadside ballads, andI've lectured on various musical and feministtopics in the U.S., Canada, and Mozambique;As a political ectlvist-feminist, pacifist,enti-racist , anti-imperialist, anti-nukesagitator, etc.; active member of the WarResisters League (New York City local) ,fouding member of women's CR groups(London, New York), and to date fourtimes arrested (New York), and twicebeaten by the police (Chicago, London);And a a lifelong folk singer, a songwriter(member Songs of Freedom and Struggle, anetwork of political musicians), and now ajourneywoman poet-s-songs currently circulatingin print include 'The Ballad of BobbyS,ands" and "Apartheid No, Liberation,Yes' in The People's Songletter and "I'm aFriend of the Foetus (right up to the momentof birth)" recorded on the May 1983 CooPrecord and printedmagaZine.(words only) in the CooPSee also: People's Music Network forSongs of Freedom and Struggle' and People'sSongletter.'DAVE LIPPMAN322 E, 11th Street, #20 New York, NY 10003(212) 673-3835I write songs FOR life and liberty, survival and SOcialism, humor and hard work;AGAINST racism and reaction, brutality and boredom, imperialism and all impediments.Ising at benefits and nightclubs, inside prisons and outside palaces, Iproduce tapesand books of my songs, work with theater groups, perform in Europe, sing in otherlanguages whenever it's useful and possible, distribute singalong sheets, teach andlearn from others, and am as tolerant and militant as possible.My musical style springs from that fertile field that lies between folk and a hardplace, cross-pollinating with all the fields that border it, without ever claiminganother's roots as my own. Some of my songs are satirical, and all of them are serious.I have performed mostly for youth, students, activists, east and west coasters, andpeople who come to political events. I'm moving into playing more for people whoare disaffected from society, people who like good music with strong feelings andopinions, people with a taste for satire and soul-s-people who want to learn as well aslaugh,When I sing alone it's because of finance. When I have a band, people are morelikelyto dance.I work with political groups that I think have some capacity to communicate withand organize people for change. Including some Idisagree with about some things.Including even some that don't advocate capital punishment for capitalism. But notincluding groups whose dogma insists on running over their common sense. Andeveryone else's.SPECIAL INTERESTS~Passionate translations of revolutionary songs, especiallyfrom Latin America, to sing for those who listen in English. More daring clubbookers and radio programmers who will mix political music with other stuff the wayit's done in the rest of the world.WORKING CONDITIONS-People don't necessarily want to look at the dirty sideof lifeat all, much less their own country's responsibility for it. This can make it hard toget heard. And the people in control of the commercial gateways to the publicpress,airwaves, recording, venues-are generally more conservative than the audiencesthey control.Political organizers must realize that in struggling against a state and aclass we are taking on a reactionary culture which can only be displaced bya revolUtionary one. We have a responsibility to develop that culture, to make thata paramount task in our work.So let's get Our strategy together and boogie.lautaro PerfofIns Andeanmusic.MASS TRANSITSTREET THEATERP,O, Box 347Jerome Ave. StationBronx, NY 10468(212) 748-0785contact: Mario GiacaloneMass Transit Street Theater, now in its14th year as a repertory company in NewYork, is currently working on its new play,NEIGHBORS, The play centers on a groupof community activists who, through thenight of July third, put aside their differencesto find their common values. Ittakes an upbeat look at our community'sdiversities, and presents new hopes,dreams, and challenges for Americans today.Mass Transit Street Theater has performedits plays all over-in communitieslike Green POint, Brooklyn; KingsbridgeHeights, the Bronx; The Public Theater,Manhattan; George Meany AFL-CIOCenter in Silver Springs, Maryland; and theRiviera Hotel in Las Vegas; Nevada, tomention a few.DONA ANN McADAMS.i.348 East 9th Street _(.).New York, NY 10003 ~(212) 475-3395Iam a photographic artist working only inblack and white. I am interested in photojournalismand documentation. I ma.ke thephotos and turn them into posters which becomestreet pieces. My last 4-year body ofwork was called the Nuclear Survival Kit, anurban installation involving approximately5 000 xerox posters of nuclear installationsacross the USA. It was postered in majorAmerican cities, and on Interstates 80, 95,10 and 20. It was also installed in Australia,Ireland England, Sweden, Germany, andJapan by anti-nuclear "mail a~" groups.Now Iam working on a new project of photographicimages, Alphabet City-a look atthe changing Lower East Side and thegentrification problem. I work at PS 122Community Center and with a Germangroup who are studying housing problemsin Berlin. Iam a member of Not For Sale, aubcommittee of PADD. I am excited to be~orking with the group on this issue aft~rcoming from a four-year project t~at I didalone. My hope is that more individual activistswill come together and form groups.There is real power in numbers.CulturalCorrespondence 61

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTSUSAN R. MCCARN604 Carroll StreetBrooklyn, NY 11215(212) 420-8196I am a performer, director, writer, organizer, and you guessed it, editor. Much ofthe past year of my life has been occupied by the coordination and publication of thedirectory you are holding in your hands. Ihave worked for Cultural Correspondencefor two years now as a staffer, editor. designer, writer and networker. My work herehas given me an inestimable opportunity to network and to keep myself alive withinthe project of developing a progressive arts movement in this country. I know fromplenty of past experience that if this were not my way of paying my rent, my involvementwould be about 20% of what it is now. The most important thing about thiswork for me has been finding and developing a radical political cultural community towork with of dear friends and respected companeros.In 1982l co-conceived, co-wrote, directed and performed in a play called, "Hardto Swallow: A Play about Anorexia, Bulimia, Advertising and Social Contexts." In itIwas exploring food obsession as a feminist issue, a socialized masochism that allwomen have been subjected to. This past year, aside from my work with CulturalCorrespondence, I have taught voice and studied political economy at the New YorkMarxist School; worked with the AD/HOC/ ARTISTS and the November 12thCoalition; taught at the University of Illinois at Champaign-Urbana; traveled toNicaragua with a delegation of North American theater workers; and performedstreet theater for ARTISTS CALL. The trip to Nicaragua has transformed somethingfun.damenta! in me-it r~emerges in an extraordinary resonance with every othermajor experience of passion, dedication, and contradiction in my life.I want very much to get back into political theater work; it has been difficult to findpeople in New York to do socially conscious, preferably original, experimental collectivetheaterwork.Through Cultural Correspondence, Iam a member of PADD and the Alliance forCultural Democracy (see separate listings).MEDIA NETWORK: ALTERNATIVE INFORMATION CENTER208 W. 13th Street _New York, NY 10011...r:III....•••ItII.:::"I(212) 620-0877 I•••Contact: Barbara Solow ~'!,~,'Media N~twork is a national membership organization whose goals are to: 1) increasepublic ~wareness.of how m~dia d.efine and influence our lives; 2) help peoplewho are workmg for social change Identify and use films, Videotapes and slideshowsto further their goals; and 3) introduce quality independently produced media to abroader audienc~. Media Network is founded on the belief that media strongly influence.our perceptions and shapes the v.o:aywe think about ourselves and our society.Media Network serves as: 1) an experienced and trusted source of information onS?Cial issue films; 2) a training resource center; and 3) an expanding network of actlvtstswho want to share their experiences in using media at the grassroots.Media Network's Information Center is a telephone and mail reference service with~nformation.on over 3,500 films, Videotapes and slldeshows on a Wide range of socialIssues. Media Network produces guides to media on topics of interest, such as disarmament,reproductive rights, and Central America, and distributes publicationsfrom cooperating organizations such as Cine Information and the Film Fund. MediaNe~work also offers periodic workshops and training sessions in how to use media forSOCialchange activities.LIZMESTRES19 West 21st St., 2nd FI.New York, NY 10010(212) 929- 7221I have a studio that provides graphicdesign services for commercial and politicalgroups. I am a member of the Puerto RicoSolidarity Committee and the New YorkMarxist School.ME MAGAZINEP.O. Box 1132Peter Stuyvesant StationNew York, NY 10009USA(212) 673-2705ME magazine circulates throughout the InternationalArtist Network in more than 30countries worldwide.Statement of purpose: The comedy of MEart (La Comedta dell'arte mio] is the constantand continuing attempt to unite the world ofmatter and the world of art. It is an apparentimpossibility; it is the only quest however; itisthe quest of creation.MEet Me at The Eye: La Galleria dell' Occhio,an East Village storefront eyes onlygallery, at 267 E. 10th SI. For exhibition andsubscription write to above address.MEmbership is by self election only.From Women Artists News A Flight 0/Imagination by women ar'tists, a sitespecific group show, Small Walls Gallery,N.Y.C.MIDMARCHASSOCIATESWomen Artists NewsBox 3304,Grand Central StationNew York, 10163Contact: Cynthia Navarettaor Rena HansenMidmarch Associates is a multi-purposeartsorganization focusing on publishing, administration(exhibitions, symposia, panels),archive, and information. It works with thearts community. The group was formed bywomen interested in overcoming the existingbiasin the art world. We publish WomenArtistsNews, a magazine with informationabout women artists livinq and dead and informationabout the situation of women artistsanduseful to them.Weneed help to continue our work whichc?ncentrates on the issues of artist's rights;discrlminatlon: and equal opportunity forwomen in the arts.PENNYMUDDSUllivanStreet '- .,..NewYork City, NY ~ ... ~Contact via: "-Box 11 Meacham Branch "FloralPark, NY 11003 ' ,fr int~re.sted in process/projects that stemom inCIdentsin my life, tasks that need to beaccomplished, peace work. i have theper~pective of a performer from past exfren~~cesin'vernacular entertainment'emlnlst revue and cabaret) and 'moderndance' h(expl . .onng conscious movement ast erapy).as for the fut . .. ure , I aspire to developmUSicallyt .p f 0 give greater depth to intermediaerd~rmances, public rituals and multiela . II' 'l1l. . msta atIons concerning social/SPlTltualch . .timele ange. Immediacy, directness,prOPria~~1moral principals, and the apworka Y opportune are my boundaries.but a lon~ for greatest mobility/flexibility,wa Ppreclate collaboration's process. 0301-vs Open to Iother proposa s, especially fromoverlaw: en . curious about the potentialnoo- .pI tween performance and acts ofVlohentpolitical resistanceMuc tr .Work .ansatlantk travel has led me toprOViding'access . 'f . dPe "o services or artists anII rmers wh . hed out of r 0 WIS to tour in europe; basabOveadd ome-can be contacted at theVideodress. have been employed as- ocument .interpret anan, para-archaeologist,beYondal~;h' r~se,archer, preservationist.Wife.. . IS art actiVity hope to be a mid-EL MUSEO DEL BARRIO1230 Fifth AvenueNew York, NY 10029(212) 831-7272Contact: Isabel NazarioEI Museo is the primary Hispanic art museum in the continental United States. Organizedin 1969 as a store-front adjunct to the local school district, it now occupies apermanent home on New York's Fifth Avenue where it provides the nation a continuinglook at the Hispanic experience through art-painting, sculpture, graphics,photography, film, music, and theater.EI Museo del Barrio is the major collector and exhibitor for Puerto Rican artists whohelp give artistic expression to the experience of millions of Hispanic Americans.Its collections comprise over 5,000 objects. Its research collection grows annuallyas does its library. Exhibitions have included art based on Taino Indian designs, worksfrom international sources such as London's Victoria and Albert Museum andretrospective exhibitions of individual artist's work. Exhibitions of contemporary artists'work have served to create an interest in the marketplace, thus filling an importantneed for emerging Hispanic artists.Since moving to its Fifth Avenue location in 1977, the museum has mounted 20major exhibitions of painting and sculpture; 18 exhibitions of contemporaryphotography; over 20 concerts of chamber music and 60 concerts of Puerto Ricanand Latin American folk music; presented, with Joseph Papp and Teatro 4, threeLatin American Theater Festivals; and produced two National Latino Film and VideoFestivals at EI Museo.From the Museo collection, Los Tree Magos, 19th century Puerto Rican.MODERN TIMESTHEATER2S0 W. 65th StreetNew York, NY 10023(212) 664-8933Modern Times is a nonprofit professional(Equity) theater founded in 1977. Based inNew York City, we tour throughout theUnited States. We create original playsabout people in crisis, personal and social,and we perform our plays for the widestpossible audience, including thousandswho don't usually see live theater.Past productions include: "Homeland," ~comedy about South Africa and the U.S.,"The 8 Million," about New York City'shousing horrors; "The Bread & RosesPlay" about the 1912 Lawrence TextileStrik~; "Hibakusha: A Love Story fromHiroshima," about A-bomb survivors; andour current production, "Freedom Days,"about the Civil Rights Movement.Besides our plays, we offer playmakingworshops in public schools, in such culturallyunderserved areas of New York City asthe South Bronx and East Harlem. Ourlocal performing space is. Washingt~nSquare Methodist Church In Green.wlChVillage. Our office and rehearsal space IStheLincoln Square Neighborhood Center, atthe address above.62 Cultural CorrespondenceCultural Correspondence 63

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTNATIONAL ALLIANCE OF MEOlA ARTS CENTERS5 Beekman Street, Room 600New York, NY 10038(212) 233-3900,..~ "'" ...••••"""The National Alliance of Media Arts Centers (NAMAC) is a non-profit organizationdedicated to increasing public understanding of and support for the field of media artsin the U.S. Members include media arts centers and media artists as well as other individualsand organizations providing services for production, education, exhibtions,preservation, and distribution of video, film, audio, and intermeida. NAMAC's informationservices are available to the general public, arts and non-arts organizations,businesses, corporations, foundations, government agencies, schools, and universities.NAMAC:Fosters understanding and appreciation of non-commercial media as art, as a majorcultural force, as an educational tool, as historical documentation, as a majoraspect of international cultural exchange.Develops publications on available resources.Researches new funding sources.Sponsors an Annual Conference.Monitors legislation and policy at local, regional, and national levels affectingNAMAC constituency.Publishes a national newsletter.Provides technical assistance to member organizations.NAMAC Membership Benefits:Subscription to Media Arts. You can keep informed and up-to-date on film, video,audio, and intermedia arts with Media Arts-news, reviews, interviews, andthoughtful, provocative articles in each issue. Six issues a year, including The Guide,a comprehensive regional listing of media arts programming, exhibits, lectures,seminars, and media related activities throughout the U.S.Annual Conference.Management assistance to media arts centers.Membership services.Institutional membership ranges from $50-$150, depending on your budget.NATIONAL BLACK THEATRE, INC.9 E. 125th 5treetHarlem. NY 10035(212) 427-5615Contact: Shirley Faison, Business ManagerThe National Black Theatre was founded in 1968 by Barbara Ann Teer, and hasestablished a cultural and educational facility in Harlem, America's most well-knownblack Community.The P~~orming Program is the hub of NBT activities. Over the years NBT has producedoriginal works that reflect the ritual techniques and theatre style developed byBarbara Ann Teer. The performances are audience participatory, highly energizedand entertaining. The NBT productions create a theatrical environment that producesstron~ family feelings because they express, in a creative and dramatic way,love and unity for all people. The performing facility is also used for productions byother theatres and artists.Under the Touring Program, NBT has established an annual summer tour of communitycenters, seniors citizens centers, and festivals in all five New York Cityboroughs. NBT has a track record for touring prisons, college campuses, state artscouncil presentations, national theatre conferences, and international festivals. NBTtours have been promoted through the Theatre Communications Group. publications,the Mid-Atlantic States Arts Consortium and NECCA. Last seaons NBT maintaineda 15 member touring company which performed before more than 12,000people.The Adult Performance Workshop Program workshops are designed for the cultivationand development of the professional performing artist. Based on the creativephilosophy and performance technique created and developed by NBT's founderand executive producer, the "Teer Technology of Soul" is designed to take its participantsthrough the steps of becoming fearless and spontaneous performers.64 CulturalCorrespondenceNATIONAL WRITERS UNION13 Astor Place, Seventh Floor ••i!!!!!II!~.New York, NY 10003 ElHll..(212) 254-0279 ~contact: Margaret BaldIn October 1981, at the American WritersCongress, a group of writers began organizingto form a writer's union, like those ofCanada, England, Sweden, West Germany,and Iceland. On April 30 and May 1,1983, delegates from the Union's ten localsmet in New York to debate and pass a Constitutionand found the organization. Ouraims are to improve conditions for writersthroughout the industry. In 1981, a nationalsurvey found that the average annual incomeof the full-time working publishedauthor was under $5,000. In magazine andnewspaper journalism, conditions aresimilarly bad. In real dollars, rates havefallen over the past 20 years ..Our first contract, with Mother Jonesmagazine, raises minimum rates by 25~and raises a number of precedents. ThIScontract is important, not only for what wewon but because it established our ability toeng~ge in collective bargaining. Discussionsunderway within the Union will determineboth the targets of our next bargaining effortsand the content of the contracts wewant.The National Writers Union is workingwith other writers' and artists' organizationsto preserve and extend freedom of expressionand information. We also offer a healthand life insurance plan and discounts oncomputers, peripherals, and software tomembers. All members r ecieve ournewspaper, The American Writer, six timesyearly.The Union is the only writers' organizationwhich operates both nationally andlocally. In local chapters, members canmeet other writers, discuss professional problemsand grievances, negotiate contractswith local publications and participatedirectly in discussions of Union strategy anddirection. Fifteen members can form achapter in an area where none exists. Localshave a high degree of autonomy, settinglocal programs and duesITHE NEW SONGQUINTETCityView Music (BM!)510 W. 112th StreetNewYork, NY 10025(212) 866-3827Contact: Mike GlickThe New Song Quartet is a unique ensembleworking to "revive the tradition ofpoetic, meaningful and musically innovativesong."Theirs is a popular eclecticism, ablend of U.S. and world musics rangingfrom jazz to Jacques BreI, from countryswinq to salsa ... and more. NSQ has drawnupon the diverse backgrounds of its memberstoachieve a contemporary sound, whilerespecting the musical heritage they explore.Performing primarily in English, thegroup is equally expressive in a variety oflanguages. Their talent, their energy and diversitymakethem a very special musical experience,one that has delighted audiencesinGermany, Spain, Portugal and the USA.The group was founded by Mike Glickwho also composes most of the group's originalmaterial.Other members of the quintetare Jeff Fuller, Gene Golden, LiseBrown and Diane Orson.NEW YORK MARXISTSCHOOL (BRECHTAUDITORIUM)151-3 W. 19th St.New York, NY 100111212)989-6820contact: Lisa Maya KnauerThe New York Marxist School (NYMS) isan eight year old independent educationaland cultural institution in New York CityTh .e school offers courses on current internationalpolitical affairs women's issues apoliticsand art discussi~n group, a writ~rsworkshop, ongoing small group studies ofCapital, and much moreCultural events in the Brecht Auditoriumat NYMS include: Vital and diverse lecturesand di ." ISCUSSlonsalmost every night-Le.,pWomen, Race, and Class" "BlackThrspectives on the Crisis i'n Marxistb/o ry ," "Radical Art in New York," ... :Imqual poetry readings' commemorativeevents fo . ·f· 'I f r sgru icant dates in the calendar ofeht history; and renowned parties. Thesc 001 is e s: ifthe le . slgnl icant community center fordistinft ~n New York, and operates with atygUlshed board of advisors staff faculand' ,, roster of guest speakers.th:~~R PARTS OF THE MOVEMENT isG MS chorus. Under the direction ofene GI· kWeekI IC man, the chorus sings togetherh y (Wednesdays from 6: 15-8: 15), andWhich as developed th a repertory 0f neonle's people s musicevent ey perform for many movements.....'" ,..~"-....The New York Antinuclear Group was formed in the fall of 1982. We are a smallN.Y. ANTINUCLEAR GROUP339 Lafayette St.New York, NY 10012(212) 505-6590group of concerned citizens opposed to the development and proliferation of nuclearpower, whether its used to produce "peaceful" energy or weapons anywhere in theworld.We believe that the public has right to safe and cheap energy as well as the right todetermine what kind of energy is produced, how it is produced and how itsdistributed. Therefore, we advocate the creation of a system of energy productionand distribution that is geared toward the needs of the public as a whole, and nottoward the profits of the utility companies or the military needs of States.As we see it, such a system would have to be decentralized as well as directly anddemocratically administered at the community level, and based on renewablesources of energy such as solar and wind power.Our primary function is to inform the public about the dangers of nuclear powerand to help organize and participate in community opposition to the nuclear powerplants currently in operation as well as those stilt under constru~tion. .Our activities include: educational programs, such as forums, film and slide shows,discussion groups, leafletting, and one-to-one conversation: ~e. also s~onsor andparticipate in non-violent forms of direct action, such as Civil disobedience, legalrallies, and pickets.Our internal organizational structure is non-hierarchical, and adheres to our committmentof direct, participatory democracy.-----By this, we mean that we work as agroup of individuals in an open, cooperative fashion.Information about the school's activitiesand a catalog of courses, lectures, ~ndevents is available free on request-Justsend in a note with your address, or call.NEW YORK STREETTHEATER CARAVAN8705 Chelsea St.Jamaica, NY 11432(212) 454-8551contact: Marketta KimbrellThe New York Street Theater Caravanhas been in existence now for about 13We do street theater with a strong aryears.. t I diractisticvisual, and expenmen a t'ythi gtion _ trying more than anto crea eInthe best theater we know how. We are veryconcerned with artistic values. Through ~u~work we are attempting to becomrt~~ pate ~the events we I·tveith to pa IcipaWI , h fthem and transcend them in sefarcl.ngOs' W ress our ee Ihuman values. e exp k shareabout our daily realities in our wor, ~them and seek to create a dialog with theaudi~nte. We travel about 10,000 miles ayear.Hard Times Blues, the comedy that madeus famous in Europe, is an adaptation of th.efolktale, the "Brementown Musicians." It 15the story of a donkey, a dog, a cat, androoster. They are thrown from theirh.homes,t and struggle to learn to armomzemee , ff It beand sing together, which is di lCU causetheir music is so different. Our donkey ~as ,ablack worker; the cat was a coal miner swidow; the dog, a Puerto Rican s~ay; andthe rooster was an Americ~n Indian .. T~eanimals encounter a robbers de~, which "'or production was a big white den 10Washington Incorporated.. .Mofly McGuire is a production about Irishrebellion against British rule. The MollyMcGuires immigrated to PennsylvaOlawhere they worked as coal miners and labororganizers, and where 19 of t~em werehung accused of terrorism. In this play weexpl~re the theme of terrorism and ask whothe real terrorists are.CulturalCorrespondence 65!I

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTBOB NORMAN230 W, 99th Street #5-5New York, NY 10025(212) 662-02321n an age of electronic overkill, folk music has a special magic. It's intimate music.And it's got tradition. Bob Norman has been singing folk songs-and singing thepraises of folk music-since he first picked up a guitar 25 years ago in the hometownof New London, Connecticut.Bob Norman plays the guitar and banjo and often works with talented accompanists.He's known for a warm vocal style, an easygoing manner, and an urge tohear his audiences sing. His compositions have appeared inthe widely-read folkmagazines Sing Out! and Broadside and have been sung by accomplished musicians,among them Pete Seeger. His songs are about life in New York City, where he has livedfor 20 years, but world concerns crop up too.•Bob Norman is an authority on traditional American folk music. He was the editorof Sing Out! for seven years and is now chairman of its board. He writes on folk musicfor various periodicals, and has taught courses at Empire State College and the GuitarWorkshop, and has been a special consultant to National Public Radio, the HudsonRiver Revival Festival, and the William Billings Institute of American Music. He is anactivist and likes to sing for community groups, labor unions, tenants' organizations,civil rights and antiwar organizations. He works with the Mass Transit Street Theateran ensemble that creates plays about social issues. 'OlTO RENE CASTILLOW·CENTER FOR ••WORKING CLASSICULTURE7 E, 20th Street, 10th floorNew York, NY 10003(212) 505-0170Contact: Nancy Green':tl IThe Castillo Center, the cultural center ofthe New York Institute for Social Therapyand Research, is independent of the financialand political control of the arts establishment'both commercial and foundation.The Castillo Center provides a link for all artists-Black,Latino, gays, women-betweentheir work and progressive politicalmovements. The Center has a dance, theater,music department, and gallery; andholds weekly performances, parties, andclasses. Join us!J, HERNANDO OSORIO ~326 W, 55th Street, 3C ~New York, NY 10019(212) 246-3932I am a printmaker, a painter, and I also domurals. I would like to do more work inmurals. I work alone because I don't knowpeople who are interested in working in agroup. I~ Colombia I used to work with ag~oup dOing murals, and Iwould like to workWIth.~omebody or some group that wouldparticIpate in public projects or communitymurals.ONE SKY MUSICSee: Judy Gorman-Jacobs66 Cultural CorrespondenceWoros arc musIC bv Boo Norman"·1978bvB«>NO/manAll R'9"ISORAL HISTORY OF THEAMERICAN LEITFilmmakers Audio Tape ArchiveBobst Library, New York University ,.::::::::70 Washington Sq. South ,,:::::,:New York City, NY 10012 ::;:::,:,(212) 598-3708 ',;,;-:-'Do you have taped interviews with individualswho helped to build unions during the1930's and 1940's, fight McCarthyism duringthe 1950's, struggle for civil rights in the1960's and women's and gay rights in the1970's, and disarmament in the 1980's?Such audio tapes may be of permanent valueto historians and activists, and a special libraryof American labor and radicalism wants tohave and preserve them.The Oral History of the American Left atTa~iment Library, New York University, hasreceived funding from the National Endowmentfor the Humanities to create an archiveof interviews made by independent filmmakers.OHAL will evaluate some 2 000hours of tapes for selective accessing 'anddevelop a guide for the use of these materials. The history of labor, civil liberties, civiln~hts, minority, and women's movementsWIllbe mU~h.better understood by drawingupon .the hVlng memories of people whohave first hand recollections of events. TheOHAL archive of filmmakers tapes will be ac~nter of important material on the history oft .e ~ovement for change. We urge anyoneWith.mf~rmation of tapes to contact us forpossIble mclusion.h' OHAL was established in 1976 by youngIs~onans interested in recording the expe~encesof rank-and-file activists in a broadvanety of movements dating from the 1920's:::J: ChortlS: E A E'3J"'''' 11 J Q J I I 0 J 1 I 1J I IE Ah, la ARo- si -Ea d.e llroad-'Wa..'! __~@t J [J J 1 I 00) til JJD I I I]~h, la Ro-si- ta d.~ Broad-wa!:l__ lo R~~M*I { n ,J J 1~J2jJ I'J S 1 Isi -

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTPAPER TIGER •TELEVISION165 W. 91st St.New York City, NY 10024(212) 362-5287 or 663-3887Contact:' Dee Dee HalleckPaper Tiger Television is a mostly live,public access TV show. It looks at the communicationsindustry via the print media. Thepower of mass culture rests on the trust of thepublic. This legitimacy is a paper tiger. Investigationinto the corporate structures ofthe media and a critical analysis of their contentare two ways to demystify the informationindustry. Developing a critical consciousnessabout the communications industry is anessessary first step towards democratic controlof information resources.Paper Tiger's 28-minute tapes are madecollectively. They are Wittily designed, infor-~al, often, funny, always hard hitting. TheyInclude: SIXprograms of Herb Schiller readsSUNI PAZ435 E. 14th Street, Apt. 4HNew York, NY 10009Sum Paz, singer-songwriter born in Argentina,accompanies herself on quttar andcharango (lute). Her songs reflect culturesand countries of Latin America and her concernfor people's lives and struggles. She isabove all a lover of life, people, andlanguages. She has performed on stagesthroughout both American continents aswell as Europe. Suni sings in Spanish andprov.ides a brief explanation of the lyrics inEnglish. She usually performs with MarthaSiegel, cellist, and Wendy Blackstone fluteand light percussion.'Suni has recorded five LP's with FolkwaysRecords, including "Alerta Sings" and'.'Children's Songs for the Playground," bi-Itngual records for children, and most recently,"Earth and Ocean Songs."Herb Schiller reads the New York Times onPaper Tiger cable television.The New York Times; Joel Kovel readsCovert Action and Psychology Today; MarthaRosier reads Vogue; Tuli Kupferbergreads Rolling Stone; Sheila Smith Hobson,Newsweek Discovers Central America'Stanley Diamond reads Scholasti~Magazines; Brian Winston reads TV Guideand TV News; Ann Marie BUitrago readsAgents Names Censored by the U.S. Congress;Karen PaulseJl reads Computer World;Joan Braderman reads The National Enquirer;Sol Yurick reads The New Criterion'Stuart Ewen reads The New York Pos/Ynestra King reads Seventeen; Murr~Bookchin reads Time; Serafina Bathrickreads Working Women; Bill Tabb reads USNews and World Report; Teresa Costa readsBiker Lifestyle; Conrad Lynn reads Commentary.... and more are in the works.Tapes (314" unless otherwise requested) forrent $30; sale $100; dubbing on your ownstock, $50. Series and speakers can be arrangedfor classes and other special events.POSTAL ART NETWORKSee Mark BlochRAGGED EDGE PRESS102 Fulton StreetNew York, NY 10038(212) 962-4488Contact: Joel Cohen or DianeMilderRagged Edge is a general commercialprint shop specializing in work for nonprofitorganizations and other progressive groups-We print everything from business cards,stationary, brochures, and flyers to largeposters and books, single or multi-color. Wecan usually assure delivery on anyting usualor unusual within any kind of time schedule.We especially like to do high volume work.AARONROSEMAN465 West BroadwayNewYork, NY 100121212)475-0436Work: painter, postermaker, photographer:politically oriented.Iworkessentially alone and join groups asparticularissues arise. In the past, I've workedwith Ad/Hoc/Artists, ARTISTS CALLAgainst U.S. Intervention in CentralAmerica,and others. My work goes beyondtwo-dimensional canvas and into publicsculptures, banners, and other cultural workforsocial change.Yes, I would prefer to do work withgroupIs).SEDITIOUSDELICIOUSPO Box 6981NewYork, NY 10150Seditious Delicious, anew, anti-authoritarianpoetrymagazine, wants poetry in anysly~e,traditional to punk, including songlyrics, prose poems, and experimentalpoems. Seditious Delicious will print those(a~er all, we won't be able to print everythmg)that we feel most poetically andscrumptiously subvert the system of statismmilitarism, racism, sexism classism gay'thand IesbiIan oppression, ageism,"or any ofe other nasty power trips we have to contendwith.But we're not merely anti these evils ohnoI ! We are for a liberated world based onp.easure'peace, andcooperation.a worldWllhoutbound· hi . 'Sanes, ierarchies or secrecy.uch a .a world' Webel'teve , Willbe.'mherently.p ~C~I: Let's express it and share it NOW.. I dfflt!ousDelicious will be free and a specJaert·llb'. 0 WI e made to distribute it toP nsoners.Please sendth no more than five poems Allose who send . I' . '.tiou D I' . matena wtll receive Sedtin'I s e ICIOUS,whether their work appearsturnI ordnot.IfyoutshWIS your material redrese d to yOU, include a stamped, self-ad-_se envelope.SEDITION ENSEMBLEContext Music63 W. 8th Street, Suite BNew York, NY 10011(212) 673-5184Sedition Ensemble is a multi-dimensionalmusical performance group using originaljazz, funk, and other popular forms to createmusic that sings directly to the urgency ofcontemporary times.Typical Sedition shows include songs excerptedfrom longer works, combined withnew material and, arranged to encompass atheme relevant to the particular event, thesponsoring group, or some other purpose.Their shows always have a theatrical element.Full length pieces:The History of the Universe According toThose Who've Had It-a musical odysseyusing prison and political prisoners as a metaphorin describing U.S. society.Echos of 1898-public and personalnotes and anecdotes that relate the Spanish-American war to present U.S. reality.LOISAIDA Wor Party-an insightful, oftenhumorous look into the issue of gentrificationon N.Y.'s Lower East Side, with apersonal, international, and futuristic view.Most recent work:A cabaret political performance work, developedand performed with La Mama ETCCabaret, "Calling Out."Workshops:Rhythm and Relevance-lecture, demonstration,and participation workshop in thetechnique of creating and performingsongs, raps, and other presentational modes,using current events, stories, and personalexperience.Recordings and a video of Sedition Ensembleare available from Context Music,address above.RUTHYROSEN2820 Ocean Parkway #23FBrooklyn, NY 11235(212) 966-3154.1Producer of the "Sing Out! RadioBulletin," WBAI-FM, NY and other Pacificastations. Singer/songwriter of topicalmaterial. Member of the duo, Ruthy andIrene, performing songs for senior citizens,adults and children (with Irene Friedman) atlibraries, preschools, senior centers, and coffeehouses. Also a member of the HudsonRiver Sloop Singers, a topical/environmentalsinging group with over 100 members.r hope to reach out to new audiences withthe music, audiences who don't often hearthis kind of "message" music. As two mothersof young children, Irene and J find we arelimited by time and distance constraints.While our families are supportive, we are oftenreminded that our primary responsibilitiesare at home. We need to have a lot of energyto do all we need to do and all we want to do.When we do sing, we find thai seniors areespecially appreciative and even affectionateand little kids look at us with eyes full ofwonder.MEL ROSENTHALEmpire State College300 Park Avenue South(212) 598-0640New York, NY 10010I do documantary photography of a politicalnature. I have done projects about theSouth Bronx, about Villa Sin Miedo which isa rescue community in Puerto Rico, aboutthe Cuban health system, and I do photographsfor progressive organizations andnewspapers. I often work with other photographers,critics, and organizers on specificprojects. I teach photojournalism at EmpireState College which is an innovative"college without walls."THE PEOPLE'S VOICE.I~• •c/o CAFE Westbeth Gallery •• I155 Bank Street l'JNew York, NY 10014(212) 426-2183The People's Voice Cafe is an alternativecoffeehouse offering quality entertainment.V!e provide a space for the artistic expressronof a wide variety of humanitarian issuesand concerns. The cafe is run as a non-forpr~fi.tcollective, and is not affiliated with anypolitical organization.68 CulturalCorrespondencePEOPLEMOVING PEOPLE115 West l04th St.New York, NY 10025(212) 663-0916contact: Farnsworth LobenstinePeople Moving People is a new, smallvocal ensemble composed of black Latinand Anglo musicians. We sing mu'sic fro~these three heritages and are interested inperforming at movement events.REELWORKS90 Gold StreetNew York, NY 10038(212) 233-0349Contact: Carolyn JungReelworks is a film/video/audio-visualProduction company. We produce mediafor progressive organizations and coalitions.We work in any medium. Our interests areanti-imperialist, anti-racist issues. Reelworkshas produced and distributed "RedNovember /Black November" a presentationabout the Greensboro kdlings.SeditionEnsemble.\\.~tCultural Correspondence 69

NORTHEASTGREG SHOLEITE172 E. 7th Street, ApI. 4CNew York, NY 10009(212) 673-6408I am an artist doing political and criticalwork. I also build 1V props, architecturalmodel~ and pro~otypes. This involves sculpture,silkscreeninq, vac-u-forming, plasticcons~uctions, Iightboxes, mold-making, andtechnical problem solving. I enjoy using thesesame techniques to challenge and probe oursocial environment as well as realize the conceptsof other artists who don't have access tosuch methods.CLARISSA SLIGH465 West BroadwayNew York, NY 10012(212) 254-6626Issues: Women-their work/living environments,activities and relationships. Contemporarycultural and political event documentation,r am currently working alone exploringthe dynamics created by the entry of womeninto formerly aU-male workplaces.I wo~k with others as events occur, butwould ,like to ~ork with others on a projectby-projectbaSISas well as part of a loose-knitnetwork,SLOW MOTIONPOETRY COLLECTIVEc/o Zegers681 President 51.Brooklyn, NY 11215(212) 789-6544Contact: Kip ZegersSPIDERWOMANTHEATRE77 Seventh Ave.New York, NY 10011(212) 243-6209NEW YORK CITYSpiderwoman Theatre was formed as awoman's theatre group by women addressingwomen's issues. We have grown in ouroutlook. ~ow we are interested in all people.Our Issues are still women's issues butwe als~ ?o anti-nuke pieces. Although wear~ political, we have high artistic values.Spiderwoma-, company uses music andcomedy as part of our work.We work with the school system wemenspolitical groups; we tour all over theworld. Our aim is to be self-supportingthorugh Our work.GILLIAN STEPHENS3324 Lucerne StreetBronx, NY 10465(212) 597-0626~USiCTherapy is the modern form for theancl,ent knowledge of healing throughm~sl,c. A person need not have musicaltraining to participate.In a music therapy,session percussion in-:~;ents a~d the voice are the vehicles for- xpression and communication P b~~ms ar~ transformed and worked ~it~oi~t tensl.o n a~d release, intensity and calmo musical Improvisation Th .th . . e mUSIcerapist serves as guide activatorand list helm ,support,and c1a~7tyr e Pd mg a person gain insight,an renew energy th hmusic as well as words.rougGillian Stephens, M A CMT ..and composer has ' " , mUSICiantherapist for ov~r 1 worked as a musiceludes a Master' d 1 year~, Her training infromN y s e~ree I,nMusic Therapyew ark University stud at thGestalt Therapy Institute in New Y~rk ~aN,stu~yof rhythm and ritual in Ghan~ :~d1gena.JOE STEPHENSON188-24 Lewiston AvenueSI. Albans, NY 11412"',am a muralist, painter, graphic and scenicdesl~~er. My murals are produced with commUnitiesand usually reflect th .felr concerns Iam a ounding member of ARTMAKERS',nc., of ~ew York City, a group of public ar:tlsts dedIcated to the production f't0 Communiy responsive, socially relevant artworks.See also: ArtmakersSTEPPINGSTONESP.O. Box 1856Harlem, NY 10027(212) 474-5063contact: James B. Gwynne,editorSteppingstones is an irregularly publishedjournal. Two issues have appeared: thePremier Issue (Summer 1982) and MalcolmX: A Tribute (Winter 1983). The next issuewill appear in September.A one year subscription is $20. The journalwill be published quarterly whenresources permit.The journal offers no personal bias, but~erves as a vehicle for presenting fineliterature. Steppingstones welcomes andencourages unsolicited materials fromestablished and new authors. The criteriafor publication are purpose and literarymerit."Liberation," which Steppingstonesfosters, is a term to be taken in the broadeslcontext of the word. Any work that can aidus in the struggle against political,economic, or spiritual tyranny will bepre~ented as authors wish to explore theSubject of liberation.SUSAN STOLTZ495 Broome StreetNew York, NY 10013(212) 966-1757Multi-media artist, filmmaker, painter,PUppet/mask maker, oral historian, organizer.. Currently organizing women artistsm.eetmg at the Limbo Lounge on Sundays.Director and creator of film, "Big Red,"Lo.u~ge puppet animated 16mm film, descnbJngthe humorous side of my 1980 journeyaboard the Trans-Siberian Railroadacross the Soviet Union.TALLER LATINOAMERICANO1~119 w. 21st 51. •••NewYork, NY 10010(212) 255-7155 """VJrThe Taller Latinoamericano is a nonprofitcommunitycenter. It was created sothat Cu.ltu,ralprograms and the opportunityfor. ernsnc expression could be madeavailableto individuals and groupsh The Taller presents cultural a~tivjties~a~ater perfor,~~nces, musical concerts:ce, art exhibitions craft fairs and films~nof both Latin and North Ame~ican tradi~tlonalS.and madern cuItural origin, Ourpamsh classes are very popular, and wenow offer E I· h1 ng IS as a second languagecasse~. The Taller provides an exchange ofexpenences to its audiencesen~~leTa~ler also provides the facilities togr e at er groups to do their own proemsand w ff·Latina' . e rent a Ice spaces togr mertcan cultural and solidaritycups.GROUPTHEATRECOMMUNICATIONS~eJ355 Lexington AvenueNewYork, NY 10017(212) 697-5230As a national .nonprofit . service organization forSlales, T(~~fesslo.nal theatres in the Unitedcalled Th publishes a monthly journalcloseto 5e~g~CommUniCQtions, which hasartistsand ad S,U?SCribers.Many are theatreists,fundin amInls?,ators, colleges, journalfeSSiong gencles, and others of the pro-NEW YORK CITYTIME MACHINE/Home Movies212 E. 89th Street New York, NY 10028(212) 722-6793 Contact: Frank FitzgeraldNORTHEASTTHE TALKING BANDcia Performing Artservices, Inc.325 Spring StreetNew York, NY 10013(212) 243-6153The ;.gular fer natio I eatures of the magazine covnaand it'pIe new st n ernatlonal events peo-, ages df· 'section which' ~n undmg. There is also aschedUle f lists monthly productioncompani:s°fr Over 125 theatre and touringom across the nation.The Talking Band is a five-member theaterensemble whose work emphasizes languagethat is rich and energetic, underscoredby a broad range of musical ideasfrom formal songs to surprising sounds.The group began in 1975 by working onshort stories, poetry, and songs, and hasconsistently developed very fine full-lengthproductions: WORKSONG, a semi-documentaryode to, and critique of, money inAmerica; THE KALEVALA, based on thelyrical epic of Finland; and PEDRO PA-RAMO, by Mexico's leading author, JuanRulfo.For the past ten years, I have worked as a free-lance illustrator, a position providingexcellent training as well as occasional aesthetic and financial rewards. However, myspiritually-based desire for wholism, peace and justice prompts a search for ways togive more meaningful expression to my talents, This search has led me to the developmentof TIME MACHINE/Home Movies.TM/HM, a film or video service, is somewhat difficult to describe because the firstreel is not yet "in the can." It is envisioned as half-hour programs of magazine format,family entertainment touching on universal themes and concerns. A typical programmight include: family album/home movie-like "portraits" and interviews, coverageof local issues and politics, commentary and reportage and animation,The individual pieces will be woven together by theme, visual segues and thestrong presence of music and song. The underlying message will be that life, thoughseemingly tragic at times, is varied, challenging and deserving of-and in need ofcelebration!TM/HM is now essentially a low-tech, one-man operation and will be so until ittakes a more definite form, Ihope eventually to be soliciting "pieces" for it from contributingartists and to be able to share the income derived.Iam also available as an illustrator for organizations promoting life, peace, growthand wholeness, Iwelcome all inquiries,CulturalCorrespondence 71

NORTHEASTNEW YORK CITYNEW YORK CITYNORTHEASTNED TREANOR210 E. 21st Street, '4CNew York, NY 10010(212) 677-9571Ned Treanor is currently a member of theHudson River Sloop Singers; staff organizerfor the New York Folk Festival, and Folkworks.the festival's parent organization;contributor to and production staff memberof the Fast Folk Musical Magazine; PublicityDirector for this magazine's companion organization,the Speakeasy musician's cooperative,in New York City; Co-editor of theSING OUT! Radio Bulletin on Pacifica Radio,over WBAI-FM, New York City; memober of the SING OUT! magazine music commiltee;member of Songs of Freedom andStruggle/People's Music Network. He hasalso served as Midwest contributing editorfor BROADSIDE Magazine; manager/agentfor Chuck and Joni Mitchell; co-managerand producer for The living End andFocus: Hope, in Detroit; co-founder of thePeople's Voice Cafe, New York City; publicist;producer; promoter; and collaboratoron the Haymarket Songbook project. Albumcredits include Joe Heukerott's "Bittersweet,"and the Speakeasy's "Coop" albumseries. He is also co-founder and vice presidentof Clearwater's Brooklyn Sloop Club;and member of Ferry Sloops, Clearwater'saffiliate. He has performed with Pete Seeger,Josh While, Jr., Bob Gibson, JimCroce, Tom Rush, Dave Van Ronk, EricAnderson, Oscar Brand, Tom, Steve andHarry Chapin, Joni & Chuck Mitchell, toname a few.-UNION FOR,..,"..,,~DEMOCRATIC ••••COMMUNICATIONS..." ...~725 Broadway, 4th FloorNew York, NY 10003(212) 598-3338Contact: Karen PaulsellThe Union for Democratic Communicationsis a national organization of communicationresearchers, media producers, andactivists devoted to the critical study of communicationsissues and policy, productionand distribution of alternative media andthe development of democratic com~unicationssystems in the U.S. and abroad. Itincludes individual members, local chapters,regional organizations, and a nationalsteering committee. The national organizationworks to facilitate communicationamong regions, local chapters, and individualmembers. UDC held the First NationalConference on critical communicationsin Philadelphia, in November 1982; itwas titled "Building Democratic Communications."72 Cultura!CorrespondenceWM,,;rj MoRG 'R'l)'CVL"o/ n'" 1lIAIl SE:X? GJ./ NoT HAV, ANY~,

NORTHEAST NEW YORK CITY NEW YORK CITY NORTHEASTWIRE (WOMEN'SINTERNATIONALRESOURCEEXCHANGE)2700 Broadway, Rm. 7New York, NY 10025(212) 666·4622,..,....,...••••....',WIRE is a collective of feminists who seethe importance of providing information oftenvery hard to find about women's options,work, and struggles in the third world.Our philosophy is feminist and antiimperialist,and we see the two as completelynecessary, indeed complementary toeach other. There is a need to explain therole of the U.S. and other industrializednatons in the oppression of women in thethird world, to make connections of racism,classism, and sexism on an internationallevel as well as a personal one. WIRE researchs,evaluates, duplicates, and distributeslow cost materials, both published and unpublished.Our publications have included:A Latin American Women's Poetry packet;an information packet on South Africa;Lives of Working Women in India; TheFotonevele as a Tool for Cultural Domination;our newest publication and first in bookform. WE CONTINUE FOREVER Sorrowand Strength of Guatemalan Wo~en' andmuch more. The prices range fro~ fiftycents and up for individual articles, to a coupleof bucks for longer works. A catalog ofthe material available from us can be sent onrequest.WOMEN'S EXPERIMENTALTHEATER98 East 7th St. RIf~New York, NY 10009 ~(212) 866-7785contact: Roberta Sklar/SondraSegal, Artistic DirectorsThe Women's Experimental Theater(WET) creates and performs theater whichdraws on the specific experience of womenand brings it to the public. Our program includesthe creation and performance of collaborativeworks, the development of experimentalmethods of acting to articulatewomen's lives, and public research withwomen on themes relevant to our experience.WET is concerned with the evolution of afeminist theater aesthetic and the establishmentof women's theater as a form of expressionwithin the arts. Some of our worksinclude, "Woman's Bodyand Other NaturalResources"-Food, Food Talk, and Feastor. Fa~~ne, and ''The Daughters CycleTnlogy ~Daughters, Sister/Sister, andElectra Speaks. Workshops, video and performancesare available.74 CulturalCorrespondenceWOMEN MAKE PRINTS920 Riverside Drive #26New York, NY 10032(212) 923-2437contact: Barbara McPhailWomen Make Prints is a cooperative ofwomen artists who have worked intensivelyin the printmaking medium. These 15 artistshave shown widely in national and internationalexhibitions and have receivednumerous prizes and honors.Women Make Prints was founded in thespring of 1982 by several artists then active~n Bob Blackburn's Printmaking WorkshopIn New York City. The flexible, professionalatmosphere of the Workshop has, for years,encouraged many artists to experiment anddevelop as printmakers. The membershipof Wom.en Make Prints quickly expanded,and a first exhbition was held at SUNY-~urchase in the spring of 1983. Future plans~~cl~de trav~1 to Columbia University forInside/Out (their current show) and newshows, such as "Women at Work."WORLD WAR 1lI ILLUSTRATEDcf 0 Seth Tobocman176 E. 3rd Street, #lA • "'"New York, NY 10009(212) 505-6457~orld War III Illustrated is a magazine ofpolitical .art and political cartoons. It is prim~nlyVIsual and gut oriented. We put a pnontyon shaking people up. We started in1979 ~s a reaction to Jimmy Carter's warrhetonc. . f We come out irregularly.ThreeIssues so ar. People interested in contributingor buying copies should write or call.Cartoon from World War IIIl11u~trated.by Seth a~d Peter.WOMANSONG i)825 West End AvenueApt-:t4-F'New York, NY 10025(212) 222-2892 contact: Barbara(212) 499-2322 contact: JoyceWe are a group of seven women who singabout women's lives and struggles. Weavinga rich blend of harmonies, we seek to interpretfolk, blues, country, and contemporarymusic on feminist, international, and otherpolitical themes. Womansong amuses,rouses, moves, and inspires.Woman song is available for rallies, coffeehouses,workshops, conferences, andcultural events. Inquiries are welcome.YOUNG FILMMAKERS~~VIDEO ARTS l ~.4 Rivington Street ~~. jNew York, NY 10002 ,. 'I""(212) 673-9361 Contact: Roger LarsonYF IVA was established in 1968 on NewYork's Lower East Side as an experiment in16mm filmmaking by young people. It grewwithin a few short years into the region'slargest nonproft, tax-exempt service organizationfor the independent film and videocommunity.Low-cost services offered today byYF IVA include film and video equipmentloans; postproduction facilities; a color videostudio; film rental and speaker subsidies;and a variety of media training, exhibition,and lecture programs. YF IVA is also commissionedto produce film and tapes forcommunity, arts, and cultural organizations.YOUNG PEOPLE'S CHINESE CULTURAL90 West BroadwayNewYork, NY 1000712121964-7903CENTERThe Young People's Chinese Cultural Center (YPCC) is a Chinatown communityarts group that has been introducing audiences in the New York area to Chinesedance for the past 10 years. YPCC was founded in 1975 by a group of artists,dancers, musicians, young amateurs, and their parents of the Lower East Side whowantto share their artistic skills and Chinese culture with the general public.The dance workshop of the center offers virtually every style of Chinese dancing,includingdances of the Han, Mongolian, Tibetan, Korean, and other Chinese nationalminorities.Our emphasis is both on the folk dances of the various Chinese nationalitiesandon traditional dances. Members of the workshop have had the opportunitytostudy dancing and to do research in China and other parts of the Far East.Research on the minorities, their habitats, cultures, songs, dances, and styles ofclothingprovide us with a strong potential to develop an excellent dance workshopthat is both authentic and lively.Since its founding, the center has grown rapidly. Requests and invitations to performatChina Day celebrations and international festivals have come from communitycenters,colleges, universities, and public libraries. The YPCC also sponsored lecturesand workshops by visiting Chinese artists.Our goal is to expose Western audiences to Chinese dance in all its diverse forms.Thr~ugh our dance activities, we hope to make Chinese dance a more widely appredatedart form and in this way unearth greater opportunities for Chinese artists topracticeand develop their art in the West.. We welcome those who are interested in dancing or any aspect of dance productiontojoin us. There is no special requirement of dance training, age, or sex.PAULZALOOM54 Franklin Street #3FNew York, NY 10013(212) 964-7881HOLLYZOX352 BoweryNew York, NY 10012(212) 533-0746A Jewish woman who survived the NaziHolocaust told a group of us that she and afriend once danced on a table at Auschwitzbecause they had a lighter load of work andthe guard was not looking. I am a feministart activist trying to live a meaningful andwhole life in a capitalist patriarchy. I considermy life and art, which I do notseparate, to be a dance for life in a deathcamp.The forms my dance takes include ritual,performance, installation, painting, poetry,conversation, collaboration, being amember of Political Art Documentation/Distribution (PADD) and the HERSIES collective(a feminist publication on art andpolitics), marching in demonstrations, walkingthrough city streets, connecting with theearth, and not being silenced.I experience visions of wholeness in myrituals, in the woods, in the streets, by facingand working through the screams of thedeath camp -rather than by escaping them.These visions give me the strength to be apolitical activist, a power to actively be.I am a performer of my own one-man, found-object ani.mation~ and pap.er video-" ki " In the animations I use different debris, plastic packagmg, toys,tapes or cran res. 'h hiects as characters and setting forold appliances, shoes, books, and many ot er adr scrolls of paper that I unshortstories and plays. My paper videotape~ are rlawn on l kwith hand puppets mar-. d I' . nying narratIon. a so war 'roll while e jvcnnq an accompa ., fr m 11 year performing careerionettes, and rod puppets, and interest deriving ~mwo;k with on occasion.with The Bread and puppet Thea!er, a troup~/ s:ll~heyare funny, and second, theyAll of my shows h.ave two t~in~s I~common. ;s 'audience laugh and enjoy themarepolitical. My pnmary o.b!ech.ve IS t~t:~ki~ b~iCallY useless and dull. In the fourselves. If I fail that, :he p~htJ~al mfor~ the est I've dealt with such issues as Indusprograms:>fshort pieces I ve Invented In. P alls and their role in the decline of innertrial pollution and nuclear energy, sho ppm 9 ~ our society and the C.I.A. 's plansdcities, the effect of drug a~d cosm~tic P(~Du~ ~o~ Ceegaror What?l?").I am partietokill Fidel Castro with pOisoned ~I~ars dat~ tha~ I ~an disseminate in my shows. Forularly interested in using raw, venflable be t the US government's plans forexample, "Do It Now!" is a paper videotah~hae in~ormati~n ~omes from Fed~ral andcivil defense in the event of nuclear. war. ~ s with ublic officials. It is frightemng ~ndstate government publications and mtervlew h p me time. It is all true and I carryhideously absurd stuff which is very funor at t. ~ ~find humor in our situation withdocumentationto verify all data. But I~ee my JO ISout resorting to didactic politicallectun ng . d of my shows addresses the prob-Ny k City an oneI am also influenced by ew or tinually seeking important and potenlemsand issues facing this crazy town. I am c~n are accessible to people of all agestially funny subjects. It is important that mYt~ OWS gUyafter a performance who came. I embermeemg a . k "and political persuasions. rem 1ft" t b tthisstuffisfunnyandltma essense.up to me and said. "I heard you area e IS: URe ublican members of my audience,That's what I want to hear from card-carrymg Pand that'swhy I do what I do.CulturalCorrespondence 75

NORTHEASTNEW YORKNEW YORKNORTHEASTLlFEYARDS121 New York AvenueCongers, NY 10920(914) 268-3269 contact: Alan Gussow, directorWest Coast Office:Friends of the Earth1045 Sansome StreetSan Francisco, CA 94111(415) 433-7373The total destruction which ~ould f~II.~wa nuclear exchange renders the makingof postwar monuments a cruel lmposslbility. The time for monuments therefore isnow, before all we know and love is lost. We require a new kind of monument whichcelebrates our attachment to life, and honors not the dead but the living, not loss butconnection. We need marked places into which we may pour our feelings for thosepersons and places we love. If graveyards follow on death (and graveyards afte IIare place,S where t~e living do honor to those who have gone), then what this nU~I:a;age requires are Lile'r'erds c-places where we the living do honor to what sustai. '!Je e~power individuals to organize groups of artists (broadly defined) an~~~~~~clttzens In order to plan for, create, and publicly dedicate LifeYards 0 .eludes sending materials which set forth the basic conce t .' ur process 10-videotapes of installations which have taken place posters ~t~ :~~:=~~~~tos, anldp;ess releases, letters ~f invitation, budgets, and e;tensive debriefings. We h'a~::k~given verb~1 and media presentations. We want interested groups and individuals tocontact us or h~l.p beginning work on new LifeYards installations.~ur comrnuntttes have been very mixed. They have included th·ists 10 the Hudson River Valle (NY)' . ,among 0 ers. artc~ildren,and religiously affilia~d per~a:~~,S~~~~~~:~" :~~i~r ~tizens, schooldens, and nuclear freeze activists in Santa Cruz (CA)' i ~s s, ancer~, musist,~.efnts at the University of Minnesota; artists and writers'in a~itt~i~: ~chltectureI eYards was formed in September 1981 on the inti' . ,ass.soulptor, and environmentalist Alan Gussow. Each L~:~~ o~ Its fo.unde~-painter,become a permanent member of the growl dvi ar project director hasticipants. LifeYards is sponsored by Frier~~t~~f~h~I~~hg~OuP'dW: welcome new parlax-deductiblefunds under a restricted t a oun ation and may receivegran arrangement Ou h . hcommunity in the U.S. and around the world will dedi '. r ope IS t at everyis to. provide a hopeful, life-affirming way of dealined,c.a~e ~ Lfeverd. Our intentionLifeverds also helped to plan and pro t th g ~~ d t e thre~t of nuclear war.listing. rno e e a ow Project: see separateWILLOW MIXED MEDIAP.O. Box 194 ~Glenford, NY 12433 I~~illow Mixed Media, Inc. is a not-for-profit arts and educati ..ed 10 producing and distributing works of art and of . c~hon orga~lzat1on engagorganizationhas participated in many projects and ~.~~.Ilnterhest. Smce 1979, thesupport of individuals and corporations and ex I lti° ns t rough the generousTh f II ' , , governmenta t and privat f d'e 0 oWing ISa representative sampling of th e oun ahons.SUN AS SOURCE: a major showing of sol e pr~grams we have sponsored:m~terials for heating. The project has inclu~re~ ~ both as ~rt and as functionalPhiladelphia at the University of Pennsl ania h . symposium on solar art inand the 6th National Passive Solar En~y C' sf oWings of solar art at the Art Quakeshowing of solar art at the 1982 World1s Fairino~ ere~~e in Portland, Oregon, and aincluded Joan Brigham, Alvin Lucier Tim M t OXVI e, Tenn~ssee. Featured artistsOUTDOORS ACROSS AMERICA" h a oney, and Sheila Pinkel., a s ow of pubhc art 0 b'lIbo d 'rural and urban sites Locations for billboa d n I ar s 10 selectedings by regional and' national artists includ r s presle~tin~ original paintings and draw-PI d e rura sites m New York and C I"f .. ~ns are un erway to expand the showtoa national I I' " a I orma.cltles across the country.eve With sites In as many as40WILL OUR CHILDREN THANK US?: work in pro ress abo . .working for social change issues. Introduced and na;ated b ~t peop~e I~volved 10this tape is a co+production with The Documentary Guild. y r. Benjamin Spock,Pr~r~~~~~~~~_:~eig~t+~art series fea.turing vi.deo artists from New York state.e ,an s own on vanous stations in the mid+Hudson Valley.PATCHP,O, Box 238College Point, NY 11356contact: Joe BorowskiPatch is a plastic plate offset, small-run"Phanztne" for Alan DeCotes and the Phentomsand the Phantomettes. !t is distributedfor free is every-growing, and has lots oforiginal art and typewritten text. The Phanclub mentions reviews listed in Op: lostmusic network (see their listing) and does itown share of networking and anti-nuclearinformation distribution.THE SHADOWPROJECTc/o Alan Gussow121 New York AvenueCongers, NY 10920(914) 268-3269In the dark of the night, before the dawnon August 6, 1982, full-scale silhouettesand stencils of human shadows were paintedin streets and on curbs around the heart ofManhattan. The "shadows" were taken fromordinary events, from individuals engagedin random activities such as walking, sitting,eating, sunning, talking, feeding, playing,loving, enjoying; the project replicates theeffect of vaporization at the hypocenter of anuclear explosion, which leaves nothing butthe shadow of the person.The ShadoUJ Project is a solemn memorialwith one simple purpose: to help peopleapprehend the disappearance of human lifein the void of a nuclear war.See also: LifeYards.JAl2INTERACTIONS,P.O.Box 268GlenOaks, NY 11004Jazzline:(212)463-0200INC.Jazz Interactions, Inc., a non-profit, tax-exempt, educational membershipsupportedcorporation was formed 10 years ago to foster a greater interest in anddeeperunderstanding and appreciation of JAZZ, America's only indigenous musicalart form. We strive to create a social and cultural climate in which the art form can prosperandbe enjoyed. Through a variety of outlets the organization brings about opportunitiestolearn more about jazz, its evolution, and its relevance, while providingexpanded employment for the jazz artist.J.1. has always stressed the primary importance of reaching the young. Early on,J.I. initiated lecture-demonstration programs in schools and established clinics foryoungmusicians of professional potential. A Jazz Interactions Workshop Orchestrawasformed within the clinic program, and as part of it, Jazz Interactions' "Louis ArmstrongScholarshipAward" was established in 1971. J. I. is also clearing house for jazzinformation. JAZZLINE listing is a taped telephone message listing who is playingwherein New York City and environs. A printed JAZZLINE schedule is publishedweekly,obtainable by subscription or, available free at the Times Square InformationCen.ter,where J.I. maintains a service providing the public with all types of jazz information.NEWSONGNETWORK61 Wurts StreetKingston,NY 1240119141338-8587The Newsong Network is a nonprofitand membershiporg aruaa . ttion, whiIChpreservesfostersmusic grown out of tradition inslruggl~.This includes topical songs, cha~ts,:ple s music, Nueva Cancion, and otherIgenousstyles. Membership is $12.00 a~~. The People's Songletter, the journalenetwork, is published four time a year.Mmentalembersare'mVIe't dto submit songs, instrus,and musical scores.See also: People's Songletter.Ann of the SeaInViSibleWorld. Players, Scenes From theTHE PEOPLE'SSONGLETTERc/ a Newsong Network61 Wurts StreetKingston, NY 12401(914) 338-8587The People's Songletter, journal of theNewsong Network, is published four times ayear. It contains mostly the words and musicto new progressive songs; also informationabout political music networks, events, recordings,performers, etc.See also: Newsong Network.AFTERIMAGEVisual Studies Workshop31 Prince StreetRochester, NY 14607(716) 442-8676AFTERIMAGE is a journal that addressesall aspects of piduremaking, with an ~mphasison photograhy, independent .hlm,video, and visual books. !tis published 10 associationwith the Visual Studies Worksh~P.For information, see also: Visual StudiesWorkshop,JOE HENDRICK244 Hamilton StreetRochester, NY 14620(716) 325-2758Iam as Associate Professor of Art at MonroeCommunity College in Rochester, NY,working in mixed media. My work commentson war, peace, the rich and the po~~. .. political comments. I work alone bu rswould be interested in seeing what othewith similar interests are doing.! SALLY MATLINc/o Arnie Matlin2290 Anderson RoadLinwood, NY 14486(716) 243-4000Sing political, union, and feminist songs.Would like to continue this and reach morepeople.Work in Upstate New York area. Closestto Rochester but can travel to Buffalo or Syracuse,etc.Sometimes I work with someone whoplays guitar, fiddle or banjo because Idon'tplayanyofthese. However, Iam happyasasolo performer.I have worked closely with the peacemovement, especially with the Finger LakesPeace Alliance in organizing around SenecaArmy Depot in Romulus, NY.Iam eleven years old. Iam particuarly interestedin the peace movement because Iwant the chance to grow up. I am learningSpanish so that Ican sing in both languages,although this will take a while, Iwould likemore gigs because I would like more peopleto hear my message.ARM OF THE SEAPLAYERSc/o Clearwater112 Market Streetpoughkeepsie, NY 12601(914) 454-7673orPatrick WaddenArm of the SeaGarrison's Landing, NY 10524Marlena MaraUo and myself have beenorganizing this endeavor for 13 months nowand have produced and toured with threeoriginal shows. Each one has addresse~ waterquality issues and involved the audiencein some aspect of the play. We perform outdoorsin publiC places (parks, docks, museetc)in the Hudson Valley. We try notums, ' bit 'only to entertain and inform ut a so 0 givepeople a sense of power and hope.The project is sponsored by Clea~at.er,Inc., the major citizen action orgamzat~onon the Hudson River. While the Hu?son ISacentral image in our work, we see I:sueseace,freedom, justic, and ecological balpas interrelated and seek ways toance- . h theatermake those connections Wit our .. .We are currently working on a bilingual. "Avenue of the Americas" and are~~e~einterested in contact and collaborationwith Hispanic artists.Cultural Correspondence 77

NORTHEAST NEW YORK NEW YORK NORTHEASTVISUAL STUDIES WORKSHOP31 Prince StreetRochester, NY 14607(716) 442-8676The Visual Studies Workshop has been in existence for 15 years, constantly expandingthe work, research, and study opportunities it p,rovides. These includ,e:Research Center: A comprehensive archive of information about photographicallyderived images which is used by scholars from all over the world.Exhibitions Program: Incorporates a number of projects and services designed topromote an understanding of photography, video, and artists' books. One-person,group, and theme shows of contemporary and historical interest are mountedthroughout the year in the galleries of the Visual Studies Workshop.Media Center: Dedicated to the development and encouragement of entry-levelindependent video makers, the Media Center has come to engage in a wide range ofactivities, including: video exhibitions and film screenings, a lecture series, variouscommunity projects, and workshops, and sponsoring artists' residencies in postproduction.Workshop Press: Works with both individual artists and non-profit organizations toproduce books, catalogues, posters, and limited-edition offset prints.Book Service: Offers a broad selection of contemporary artists' books fromthroughout the world as well as resource books in the visual arts, at a 10% discount toWorkshop members,AFTERIMAGE: Afterimage is a journal committed to addressing all aspects of picturemaking,with an emphasis on photography, independent film, video, and visualbooks. Our editorial goals are: to publish serious, readable writing that reflects a rangeof social and aesthetic approaches to the fields we cover; to bring the work of emergingartists to a wider audience; and to provide news and information about the fieldswe cover,One heightened focus in this period of economic difficulty is taking realisticmeasures to ensure that Afterimage will continue to serve as a means to train criticsand to develop a forum for critical and theoretical exchange, That has meant an activecommitment to training graduate students and interns in the Workshop's educationalprogram. It has also meant seeking out the grant support to pay writershonoraria for both major features and reviews.Afterimage is issued nine times a year, October through May.Visual Studies Workshop educational programs include: a Masters in MuseumStudies; workshops; internships; evening and summer programs; and Visiting lecturersand special events,Membership in the Visual Studies Workshop is tax-deductible at $22/year U,S"$26/year elsewhere, and includes a subscription to Afterimage and a 10% discounton the Book Service.ARTEMESIAP_O_ Box 11Surprise, NY 12176(518) 239-4344contact: Ariel DoughertyFilmmakers interested in speaking with film. Available from Artemesia:SURVIVA, by Carol Clement and Ariel Dougherty, isa highly original film sharingthe struggles and joys of rural women artists through inspiring live action and animation,SURVIVA blends documentary and dramatic footage with animation to showdaily life, the hopes, dreams, and frustrations of a rural woman artist and her peers.Daily conversations, the rising of bread dough, and the sudden appearance of deer inthe woods are interwoven into the fabric of this new women's film which raises the importantissue of an artist's relationship to her community. The script and the filmdeveloped out of a women's work-sharing group, It is a wonderful mixture of thesharing of selves and the natural world, and of the unique delight of being womentogether.78 Cultural CorrespondenceOPEN HAND THEA THEPlymouth CongregationalChurchl!J,!232 East Onondaga St.Syracuse, NY 13202(315) 472-9386Contact: Cindy Squillace(315) 471-6923 Contact. Jennifer PapinContact: Geoffrey Navias (315) 472-9942We are an experimental collectivetheatre,Through movement, sound, puppetry, andmime we celebrate and explore the symboliclanguage of old and new cultures. We seek tohelp build a new society where social andeconomic justice is a reality. The open handsare those of welcome, willingness, and commitmentas we work to create a better world.Our audiences, while varied, are generallya part of the "social change" community. Wewould like to broaden our base to includepeople from more diverse backgrounds andpolitical orientations. We would also like tostrengthen our economic base, relying lesson our own resources and more on incomegenerated by our own work, Currently, weare working on writing and producing short,politically relevant pieces for children andadults.f40DRAF~BEERNOTPEOPLE!-Tan on BrownLARRY FOX r ;iBoxM ~Valley Stream, L I NY 11582 ,.(516) 791-7929Distributors of Movement buttons, T"shirts, bumper stickers, ... Our catalog contains over 100 in-stock items that are shippe dimmediately upon receipt of order. There areno minimums. We also have available, atMovement discounts hundreds of otheritems to aid in promdting local or nationalcauses raise funds assist in elections, etc.Over two " decades of experience allows us toassist those groups or individuals in the properchoice of items within their budgets.Our wholesale catalog is mailed to over1,000 progressive groups around the nationand world every year. We also mail the catalog,upon request, to individuals who orderfor their own needs or for resale to raise fundsfor local causes. We have offered this serviceto the Movement since 1961!All inqUiries are welcome and will be answeredpromptly. Free catalog available uponrequest.-IIIIAKWESASNENOTESMohawk Nationva Rooseveltown, NY 13683(518)358-9531 _Contact: Alex Abram Jacobs /Keroruaktakie, ed., . ..Akwesasne Notes is the official publication of the Mohawk People of Akwesasnek d th longest lived North American(NY -Canada border), We are the la~ges.tne~~~r an h:ve documentedIndian Journal. In our 15 year publication IS or ywe Idand analyzed- f I d' P oples the wor over.the worsening situation 0 n 1genous.e I h t ALL PEOPLES of the Earth areIt is our ancient philosophy as Ir~qu01s Peo~: t~ at ultures. We do not subscribe toentitled by right of birth to exist as diverse and ISme C . It s to unity rather it is theht f f mism as prerequtsr e ,Eastern or Western philosop res 0 con or h d i iration of the world. It is igdiversityof cultures that has been the stren~ an .m~0that disrupts unity. It is ournorance and arrogance that breeds greed ~n h~u~enond age World order and worldcommon struggle for survival that unites us In t I~ huma . hts and the conscious appeacecannot happen without the respect of baSIC ~ma~~l;act ideologies of politics,plication of human values to man-~ade technoloqies. de and distract the mind ofeconomics, and religious create factionalism among anoth For as long as we allowd! - If . s between one ano er. freason from use in me tatinq our a arr h IIk w the strife and horror 0ourselves to be governed by emotlona - I exce sseswesa , nowar. . . h of Unity Through Diversity manyOur forebearers found this paradoxical philosop ~ f h n trial and error and thecenturies ago through painstaking knowledge game ~ u~als have been copied byneed for peace and harmony, Our ancient ways an symn~ communalism, yet theirphilosophers as the basis for their own ideas of demoCTfac y a ition on the international. . , . I Ibi h deprived us 0 recogm 'Ipoliticalrealities and cu tura lases ave . ths at the grassroots level, whi e servlevelandthe human application of these ~aslc tru eo Ie of the land and the land itself.ingonly the few and powerlul and neglecting the p p f nsibilityto support andThus Akwesasne Notes is compelled out of our seh~sek? resePooplesof the Earth whoexpress' solidarity with all IndIgenous - /Grassr oats . t 10 10g P er Vigilant for too Is an dstruggle for cultural self-determinatIon, - T0 th's I end , we are I ev -th-Inthe margins 0fourmethOds which truly empower the peopIe toheIp themseh' fvesr ancestorsWIis at lastbecomplanetaryconservation philosophy. The survival et ,IC 0 oUservation movement planetingthe propelling ideology behind a SWiftlyprolifer~tdlOghc,on vement to the best of ourWide.Akwesasne Notes is eager to suppa rt and gUI e t IS et mothe people Ta ne tho.Collectiveability, In the spirit of unity and diversity we gre .AKWEKONc/o AKwesasne NotesMohawk NationVia Rooseveltown, NY 13683(518)358-9531 or 358-4460Contact: Alex Abram Jacobs/Karoniaktakie, Rokwaho, andMaUriceKenny (StrawberryPressand Contact II)Akwekon is a new Native literary magazinebeing formed by Akwesasne Notes. Akwekon_AIIof Us-all of us taking it back,collectively. The magazine will cut acrossregional boundaries of Natives & artists &Poets artificially created by culture & straightpress & education & regionalism, uniting theNativeRenaissance which has spread acrosSNorth America in the last 15 years, We willnot separate art & culture & politics, we willinclUde craftspeople & cultural groups &manifestations, published those who are notPUblished,Working artists, photos, articles onreal education, politi~al realities, etc.F,om Akwesasne Notes.tely We need finan-We need help despar~ th~n can apply forcia! support t~ ~~~e~nare out as Notes doe~grants after 3 I for many 'governmentnot and cannot ap. p y due to our politicalgran ts and momes,nature.N tSee aIsoAkwesasne 0 es,ALEX ABRAM JACOBS/KARONIAKT AKIEAkewsasne NotesMohawk Nation viaRooseveltown, NY 13683(518)358-9531/4460Karoniaktakie means Where the SkyMeets the Earth _Iam a Turtle Clan Mohawkfrom Akwesasne (St, Regis R~serv~tion, ~y-C del: poet editor, writer, Journalist,ana"- t. , t Iptorpam er, printmaker ' ceramlClS, sell ,ideo performance artist. .v I work alone and with. my ~ife Cynthl:(Kionnon) a ceramic artist. Will set updi - 19'84 for ceramics and sculpture. Istu 10 In, hi h k sam Editor for Akwesasne Notes w IC. ee~busy Paint and draw in free time.me very - blt hb k of poetry Native Colours, was pu IS.-e~oin 1974 a~d my work is incl~de·d 10magazines and anthologies of Amencan Indianculture, June 19841have time off for 6In J anuary-Md NYSCA Akwesasne useummo~~:: ~m~ricana/ Akwesasne~t~ teachPd roJ . and painting and finish paintings forrawmgh book and·t murals on thecommuru ya sow, f 'land life on the river, oldhistory 0 our, . d1timers, an d how American , education an. doctrinated IOto us.cu~:~:~~ ::parate politics-culture~day-~day-life-art.Subjects mo~t1y deal. wlt~f I~U;~. I who are caughtvldua s IIn crossmg'zation overdevel-~ur:~:tss~;~a~~~;c~ft~:, profit or peace ~c!ann~~:at ::;;a~~~el:~q:~~~)i;~~O ::dproucadteuce-Images of our culture and cosmol-Cultural Correspondence 79

NORTHEASTNEW YORKPENNSYLVANIANORTHEASTSYRACUSE CULTORBox 6367 CAL WORKERS PROJECTSyracuse, NY 13217(315) 474-1132Contact: Dik Cool. The Syracuse Cultural Workers Prole .:~~t~:~:eubliSh adnddi~tribute visual ~~:~~:I::sa~~rou~of experienced cultural actiop ace an social justice We ew r major contribution to the movsa~:c~f~~~~~;e;;:~:;~r not-for-p;ofit,:;d a~~i~~~ned(~~~:~I~~~) Wi~hthe Syracu:';with contributions and Income. In the near future, we hope to a re y soI~ly on theeventually to be able t grants. One of us receives a small stt d ug~ent this incomeWe sell our mate' 1 0 t ay ourselves reasonable rates pen, a though we hope~,hemto raise funds::~~lroupsa~d bookstores at wh~lesale ratbusiness-like" attentio . a~ conscIousness. Distribution pe h eSbeMan y groups useportance and plan so n, IS 0 en neglected by progressive' raps cause it requirestact us if you have so': t~?ec~me a distrihutorfor other P:~~~s. We r~cognize its immajorfocus, but we w~1 Ing ~r consideration. Posters card e s materia] Please conand/or-publishingissue l consider other items. We ar~ also ~ atnd calendars are OurWe believe to p lu or events-related posters In erested in designing, arap rase A '1 .political/social chan e mllcar Cabral, that culture nu .port all cultural expr;~i:nho~~hh we work primarily in visual~~es.sust~ms and inspiressu~~ort the notion that "h~ hl,~ does not exploit people's basi~h:UOlc~tion, we suplegitimateculture. We do g culture, geared for well-to-do d. mamty . We do notduced and packaged, as o:o~ acce~t t~~ most Visibleculture w~ ~e~ces, is I the onlyand does not support or owwn- or ItISnota productofco:.nm IC ISco~orate-pro_commodity culture b I gr out ~f our concerns We 0 on people s creativitypeople to determineYa~~g~oc~:rr~tl?ns. Rather, we supp::~se ~h~ explOiting of thisWe feel that well-d 0 t err own culture. eng tof all indigenousld W one cultural work Ipn e. e are excited to be h . or ISa priority and an indo .when we know it is alive and fielpm.g~ake our people's cultu IcatIOn?~ respect andounshmg.re more VISibleat a timeMEDIA BUS INCBox 718 ' .•Woodstock, NY 12498(914) 679-7739Contact: Tobe CareyMedia Bus, Inc., is a video .programs about the arts d production and post-product'sult about Productions diS:~~~ntaries, dramatic shows a~~n cen~er. We produceMany of Our clients ~re non~ 10~, cable and satellite s~stemsmuc more. We Congr~mmiogof social concern pro It groups and agencies who ~r k'ur work has appeared o· I 1 e wor 109 with proandappeared in festivals m 0 oca cable TV, broadcast on PBSrope, J~pan and South Kor~=eums and galleries throughout th:~d ~BSand ABC,Here Isa list of videotapes 'd' olted States, Eu-Media Bus I on lsarmament a d; p ease write for further informatio~ energy which are available thr hon any of the fall'owmg'The March for 0-1982 Isarmament; June 12, Shigeko:.UNC Nuclear LakeConversationougwith as·urvlvorThe Nuclear Truth with L B The Romance of Woodarry ogart RThe Accident Hazards of N 1 adiation ReduxPower uc ear L00 k· 109 for a Stray Ray:Tennessee Heavy Metal Nuclear Lakeliving with Tomorrow The Bomb ShelterThe Wood t k Ps oc eace FestivalRadiation Workers·.ReprocessingNo Nukes: Seabrook Seabrook CallingDr. Helen CaJdicott0 CulturalCorrespondenceDORY SOKOL ~e219 N 49th StreetOmaha, NE 68132(402) 551-2397 or 554-2406 ext. 2353(permanent address)3 Page StreetUnadilla, NY 13849(607) 369-7645I'm what you call a general practitioner ofpeople's th eet re, . th eatre for SOCIalchange .from I a feml IOIStperspective .is as specialized~s liet. Ico-founded the Seedling Theatre10 77, Ithaca, NY, then moved to Oneon-~a,. Syracuse, and now folded for the timeH emg . Occasionally I collaborate with Openand Theatre (Syracuse), Bread and Puppet.(Vermont) and individual dancemUSical , th ealle ~ artIsts. . Presently I am a'gaduate assistant at UNO doing research inf ou.g .Paterson's program. My emphasiS:~mlOlsm and cultural work for socialc ange. We attempt a wholistic collectiveapproach to the program. 'I have don e one-woman shows on comIC .and serious th emes: women witches andwornen. d 'In ifferent walks of life usingdtoance/workdrama. ,mUSIC"stones, puppets. Iaim.. wIth/for feminists Quakers leslaos,0Cla s . I· IStS, rural and urban " folks chil-bdbe' ren heterogeneous communities'I am.Co~ing a networker-attended th~ GathenngInFe t· I'81'The Nation Women's TheatreDiss Iva in M ay, '83 Artists for Nuclearwit:~m~mhent May '83, and did a feministFair a t I~ New York State Renaissancee, St er lng, NY.travI workI'aJonebecause I'm studying ande lng, and it's convenient I like onewomansh b .mor Il ~ws ut want in the future to doset u~c~; oration than I do now. I want toarea eoples' Cultural Center in a ruralnear a North .self a North eastern cIty. Consider myeasternartist.TOUCHSTONE908 E. 5th StreetBethlehem, PA 18015(215) 867-1689Contact: Bill GeorgeTouchstone, recently described in theGlobe Times as "Bethlehem's own NationalTreasu re, ". IS a repertory company in itsseventh touring season. Touchstone is establishinga national and international reputationby creating works in the art of movementtheater which have received critical acc1.aimandawards for excellence-a FringeFirst Award at-the 1981 Edinburgh Festivalof the Arts in Scotland for "Of Arrows & Roses,"and a special commission by the PleaseTouch Museum in Philadelphia for its children'stheater production "Whoopsie Kerplonk."Touchstone work~ in mime/theaterand has both an adult and a children's repertory.It reaches all levels of the communitythrough its performances and workshops incollege, arts centers, and schools, andthrough its vibrant summer street theater.Bill George and Lorraine Zeller are Touchstone'sfull time performing artistS. TheTouchstone artists assemble from their experiencetheir environment and the expressionof a theater for the new age. In additionto their theater productions, Touchstonealso teaches classes for adults, teens, andchildren in mime and movement theater.MICHAEL R. HILLc/o R.J. HillR.D4Glenn Drive Rd.Franklin, PA 16323(814) 432-3555What kind of work do you do? Underground/newave comix; poetry; publicationof THE WORKER POET, small arts magazine: amateur songwriter, singer, qultarist(blues, rock, country); substitute house parent for UNITED CEREBRAL PALSY.What kind of work would you like to do? Write, direct and/or act in drama/film;design sets for drama/film; make animated film; work in advertising design; workwith group in publishing; educate people and motivate toward enlightenment.How would you identify the community you work'for/with? Liberal intellectualsfrom across the nation, with or without college training, who are concerned to somedegree with social issues and thearts.How was your group formed, or why do you work alone? Most of the artists appearingin THE WORKER POET were contacted through my submissions to otherpublications (beginning with RAW BOOKS). Others are friends from this area. Ipublish THE WORKER POET alone because I like working in the various apsects ofpublication, and it's not a large enough maqaztne to require more people.Are you looking for a group or partner? Iwould like to have a partner who couldmanage the business end of publishing, something Iam not adept at or very interestedin now.Do you work in association with specific political groups/issues? Igenerally shunaffiliation with groups because Idon't like dogma; ifIwere to be part of a group theremust be room for change as knowledge and consciousness expand. Iam concernedwith promoting peace, understanding, human rights and enlightenment.What about your hopes, speciaUnterests, working conditions .... ? Iwould like tocontribute color, style, awareness, peace and creativity to the world. At times Ihopeto become a shaman. At this time my favorite figure is Vladimir Mayakovsky, a toweringand tragic artist of the Russian Revolution. In the future Iwould like to stage eventsinvolving theater, music, audience participation, education, spontaneity, bottledspring water, and FUNlFranklin, PA ......WORKER POETSee: Michael R. HillFrom Worker Poet, by Tom Brinkman.BULLFROG FILMS,INC.Oley, PA 19547(215) 779-8226Contact: John Hoskyns-AbrahallBullfrog Films, Inc., is the largest distributorof educational films on energy and theenvironment in the United States. BullfrogFilms produces many of its own titles forgeneral distribution, as well as representingother independent producers and the NationalFilm Board of Canada. The guidingconcept of the collection of titles offeredthrough Bullfrog is the encouragement ofpopular appreciation of the uniqueness ofthe gift of Life on our garden planet Earth,and the motivation of position action on itsbehalf. Besides a large number of films onrenewable sources of energy, collection titlesinclude films on land use and agriculture;gardening and nutrition; self-reliance; peaceed ucation; and the work of E. F .'Schumaker(Small Is Beautiful), and energy analystsAmory and Hunter Lovins. In 1981, Bullfrogtook the lead in widening the availabilityof educational videos to the general publicby dropping its prices an average of 75% .In1983, it released a series of 30 low-cost"how-to" Videotapes on subjects rangin~from do-it-yourself home repairs to care andmaintenance of the family automobile.Cultural Correspondence 81

Cultural Corresoondence 85NORTHEASTR I. PA. VT.BILL WERTZ220 lacey StreetWest Chester, PA 19380(215) 431-2557Transforming the world will be a creativeprocess. Every person must develop theirown creativity, if each person is to have theirfair share of power.Everything in life is musical and political,material and spiritual, emotional and technological,ecological and psychological. Theworld is energy and motion: it's a dance.We can use music to understand life andchange.I've just begun to give coherent form tomy own artistic efforts, although I've playedguitar for thirteen years. I believe that everyhuman being can be poignantly creative. AsI Jearn to draw on the intuition an excellentartist may take for granted, I hope to discoversome ways we can all change life.I plan to do writing and film eventually,but for now I'm working mostly with danceableelectric music that isn't hard to play.RADICAL HUMOR MOVEMENTc/o Dorrwar Bookstore107'12 Hope StreetProvidence, HI 02906The Radical Humor Movement was founded 1980, with the manifesto "Toward aHumor International!" signed by artists in 15 countries, published in Cultural Cor.respondence #12. Co-sponsored RADICAL HUMOR FESTIVAL, New YorkUniversity, April 1982. We sponsored the Radical Art Show tour In Seattle, BayArea, San Diego, Pittsburgh, composed of radical cartoons from Europe .and theU.S., 1890-present; and contemporary work of feminist, gay, anti-nuke, anti-war artists.Publications: Manifesto and accompanying documents in CC issue ($3.50),Catalogue and Texts ($1), Documents of Humor Festival ($3.50), special issue 01Jewish radical magazine SHMATE ($3), special issue of labor magazine MILL HUNKHERALD ($3), RHUBARB, bulletin of Radical Humor Union ($1 current issue). ArtShow available for local arrangements.PEACE & CARROTSCAUCUSBox 462Wilmington, Vermont 05363(802) 464-2006Contact: Norman KrampetzPeace and Carrots Caucus is a group ofWindham County, Vermont residents whoare concerned about the threat of nucleardestruction. We hope to address this issuethrough the visual and performing arts. Wesee our role as threefold: as coordinatorsparticipants, and audience in arts events forpeace. We hope that viewing this issue from as:ome~hat lighter, more humorous perspecuvewillserve not to djminish the enormity ofthe problem, but to make it more approach~able.We live in a rural area whose residents arequite SUpportive of a nuclear freeze and disarmament.Our members are indiViduals whoare al~involved in various aspects of the Visuala~d performing arts, and who wanted to Use~hlsavenue to help to articulate our politicalIdeas. We plan to organize a number ofevents in the near future, and eventuallysponsor a festival around the theme ofpolitical humor.BREAD AND PUPPETTHEATERRD #2Glover, vr 05839(805) 525-6972contact; Elka Schumann"We want you to understand84 Cultural Correspondencethat theaterBread and PUppet Theater.is not yet an established form, not the placeof commerce you think it is, where you payto get something. Theater is different. It ismore like bread, more like a necessity.Theater is a form of religion. It preaches sermonsand it builds up a self-sufficient ritualwhere the actors try to raise their lives to thepuritp and ecstacy of the actions in whichthey participate. "The Bread and Puppet Theater wasfounded in 1962 by German sculptor PeterSchumann, who is its director, puppetdesigner, and show-writer. The theaterresided for eight years on the lower East sideof New York City where it performed streetd . door pupandanti-war pieces an many In andpet plays, including annual Chri~mt~SeaterEaster productions. Since 1970: t ~ermonfhas made its home on a farm In . 'pate inwhere friends and neighbors partl cl d andworkshops and pe rforrr~a.nce s. dBreaerform-Puppet now combines .hvm g a.n fts majoring in rural Vermont with touring andpieces through the U mite d States thethroughout the world. Each ~u~:~rrec.theater produces Our Domestic ppettion Fair and Circus, a two-day l.~;~~~einand musical extravaganza, at IGlover, Vermont.42Arts Workshop; Lansing, MI.1. popular Worker's Democracy; St... , 2. From 3 From the collection ofL -. MO .. - 4 IOUI • ., • Chicago, It. . .. . nh Peace Museum, B ft e H rt of the Beast Theatre, La e ana;theMinneapoea )' MN PhotoIS, •Crearv.by Marge Mc-Midwest:Corn belt, oceans of wheat, wide open spaces-theheartland. Steel millsand assembly lines; factoryghost towns and union give-backs. Northern dEuropean lrnmtqrants. The Haymarket Martyrs anthe Progressive tradition. Seedbed of commumtymurals and working class culture.

•MIDWESTILLINOISILLINOISMIDWESTGRASSROOTS GROUP OF SECOND CLASS CITIZENSP.o. Box 2096, Station AChampaign, IL 61820(217) 367-6505 contact: Berenice Carroll••••.......~,~~,..,":"":..1The Grassroots Group of Second Class Citizens do not dejine themselves as an artsorganization; they are a direct action political group who are included in this directorybec~use of the extraordinary creative imagination that informs the way they design ejfectrueprotest. Their work is an important model of action for artists and activistsalike., I~ November of 1983, the group held a Witches' Tribunal in the rotunda of the 11_Imols StQt,e CaPito~. C.0mplete,with costumes, characters, and cauldron, they putmen on tnalr: their cnmes against women. The ritual proceeded uninterrupted withthe ~apt attentIon of many legis/ators in the building, including the Governor andreceiued much publicity. 'The Grassr~ot: Group of Second Class Citizens (GGSCC) is a group of women~rom central Illinois who are devoted to nonviolent direct action to achieve equality ItIS our belief that the time has come to add more confrontive tactics to the traditionalmethods of petitioning for change.Our first action was the Day of Rebellion June 3 1982 Wh·1 200d d d '. ',. Ie women conucte~ ~monstrahon m the Capitol Rotunda, 17 of us chained together and to thebrass ralls m. front of the Senate chamber. The chains we Wore linked us to ourfOhr~mothersI.nt~e suffrage movement and symbolized the legal, economic and socialcams that stili btnd women today.For the first time in U.S. history, women remained in occu at' fcapit?l-for ~our days ~nd nights. We were then forcibly removed b~ t~~~e~re~a:ta~~State s secunty forces, In a pre-dawn raid described by the St L . P D. Y"dictatorial and cowardly." . ores ost- Ispatch as- ~e.~lan to continue nonviolent direct action in behalf of women's right W tho k~!;~ga~I~I~a~:~~e~'~i~~~t~r~fi;;':n~ras~root~ Group appeared in the Jans~arye 1~~31217) 344-6583 Contact: Mark Enslin(217) 367-9821 Contact: Lesley Olson(217) 367-4773 Contact: Mark SullivanWe are a group of performers and composersof language and music. We offer newand old works of contemporary relevance inc~mposed perlormance; thus, our programmlng.and performance could be calledexpenmental.seems clear that this kind of action g~:~~r:~~hg ~ith ~ sht?rt artficle on the ERA. Itcountry.l!e 'magma Ions 0 people across the19PERFORMERS'WORKSHOP With our speaking and performing we attemptto increase the number and kind ofENSEMBLEP.O. Box 5043 Sta. Aalternatives available for choice in society.Champaign, IL 61820Recent projects of the Perlormers' Worksh~pEnsemble include: first performances inChicago and Champaign of "The Politics ofthe A~jective 'Political'," a play by SusanParenti; and recordings for COMPOS 1-~IONS by Herbert Brun, to be released onon-Sequitur Records.Members include: Arun Chandra, DavidFriedman, Mark Freeman, Charles Lipp,Megan Lyden, Samuel Magrtll, Kirk Corey,Paul Musial, Susan Parenti, PamelaRichman, Sarah Wiseman.UNITED MIMEWORKERSP.o. Box 2088Station AChampaign, IL 61820(217) 344-1162; 344-0728(312) 328-7737The United Mime Workers is a 12 yearold touring mime theater collective basedinChampaign-Urbana, IL, with extensivetouring experience in the U.S., Europe, andLatin America. Through performancestakingplace at universities, union halls,prisons, parks, and hospitals, we composeintricate structures and movement scoreswhich explore the social conventions thatdetermine our daily lives. We connect theform and content of our work with otherdisciplines and draw from daily life activitiesin the tradition of silent comedy.Troupe members also serve as writing,directing, and acting consultants to groupsand individuals interested in composingtheir own performance pieces, and haveengaged in community organizing aroundcultural issues as well. The United MimeWorkers specialize in bringing their work 10sectors of the community not normallyreached by theater, primarily through theformat of community oriented residenciesof perlormances and workshops. Throughthe use of traditional sponsors and theresidency format, with plans to utilize suchnon-traditional sponsors as unions, prisons,and hospitals, the troupe seeks to reac~ th~"theater-going" and "non-theater-gomgaudience.Artistically, the Mime Workers plan tocontinue developing notational devices tostructure events with gestures, objects, andtext; the use of "pivots" for live stage action(similiarto film "cuts")'; and techniques oftime and space manipulation (montage,displacement) to examine the paradigmsunder which we live. Through such notationsand artistic innovations we continue toexplore and expand the compositional andperformance possibilities for mime, movement,and theater.ROBERT BURLEIGH1345Diversey Pkwy.Chicago, IL 60614(312) 525-1500.~Robert Burleigh is a poet-author of TheTriumph 0/ Mittens; a playwright-authorof The Gang That Murdered Martin LutherKing; and co-author of an award-winningshort film- The Stopover.CAROL' SIMPSONPRODUCTIONS2501 N. St. LouisChicago, IL 60647contact: Estelle Carol or Bob Simpson"There's only one thing an editorial carloonistshouldbe. He should be mean. He'ssupposed to piss people off!" Bill Maudlin,cartoonist for the Chicago Sun TimesWe do political cartoons and illustrations.Except for Maudlin's unfortunate use of themale only pronoun, we agree wholeheartedlywith his point of view. Of course, welike it when people enjoy the humor anddesign of a particular piece, but basically wewant people to get mad enough to get offtheir duffs and actually do something aboutthe dismal situations we try to satirize.Our group began as the Chicago ComicbookProject, an organization of severalpeople including us who wrote a cartoonhistory of the USA called The IncredibleShrinking American Dream. When thebook was completed in 1981, the two of usbranched out into gag and editorial cartooningfor political groups to use in leaflets,brochures, and newsletters. We find workingas a collective very helpful because it ishard to research, create humor, draw, andkeep track of routine clerical duties with onlyone person. .We want very much to be in contact withother progressive cultural workers, especiallywith other cartoonists. ~nyone whowants to communicate with us IS welcom~ towrite and we promise to answer. Ramblmgphilosophical discussions are as welcome asrequests to reprint our work. Just aboutevery absurdity of class society "piss~S usff" so we never seem to lack material todraw. Let's hurry up and get to Utopia andgive us overworked political cartoomsts arest and vacation.CHICAGO MURALGROUPP.o. Box 25074Chicago, IL 60625(312) 871-3089Contact: John Pitman WeberThe Chicago Mural Group/Co~munityMural Project is a group of professlo~al artistsdedicated to producing quaht~ .artthroughout Chicago's diversecommumbes.Since 1970, the Chicago Mural Group hasworked with all age groups, from every ecolcand ethnic background, to producenorm . t' arksI . schools public lnstitu Ions, p ,murasm, II 0nitycommu,centers and on city wa s..urdmore th an 100 proJ'ects have receive.awards for design excellence and mternationalacclaim for the Group.The Chicago Mural Group projects playJNOCOOK "3819 North Ravenswood SI.Chicago, IL 60613(312) 248-2072Affiliation: True Value VisionariesType of work: Visual, two or three dimensional.Purpose: To do public art which will promoteradical thinking.Recent examples: Two story spider webacross back porches of a house (Withspider).Beds of large yellow pastic windmill flowersas the final solution to the Garden Problem .Current work: One hundred proposals fornon-political murals for Chicago.Community: Prefer blue collar, ~iddleclass neighborhoods, or just working In ~yown back yard. Except for affiliation withTVV, prefer to work alone an~ lndependentlyfunded. Seek sponsors for Implementation.an important role in neighborhood. revitalization.Group artists collaborate wlth.communitygroups, engineers, and architects.Funding for the Chicago Mural Groupcomes from the National Endowment forthe Arts, the Illinois Arts Council, theChicago Council on Fine Arts, local found~tions,businesses, labor unions, and contributionsfrom our membership. Local sponsorsshare the costs of each project.The Chicago Mural Group artists ~ork inpermanent paint media, concrete relief andsculpture, baked enamel, and tile mosaic.Members include: Jose Berrios, TerryBrackenbury, Barry Bruner, Catherine Cejandig,Mitchell Caton, Ester Charbit, CarlosCortez, Olivia Gude, Jose Guerrero,Kathy Kozan, Jon Pounds, Lynn Takata,John Pitman Weber, and CynthIa WelSS.f The starting point and a continuing activityo the ensemble is Performers' WorkshWe orient workshops toward the trivial ~~toften neglected) practical aspects of perfor.mance, and the non-trivial (but alneglected) SOCialsignificance of performa soa~d composition. We often explain the d~~~Slons we made about how to perform a piece' rthe altematives we chose from the ·t· .I . , crrenaweconsu tedwhIle chOOSing and th .ta f ,e Impornee0 the statement made as a consequenceof our performanceWith audiences and amo~g ourselhave devel d ves, we. .ope our competence as speakinand Iistemng performers Neith I. gI . . er rep acmgnor neg ectmg pieces Withtalk we d' respon tocomments and address controversy.86 CulturalCorrespondenceCultural Correspondence 87

MIDWEST ILLINOIS ILLINOIS MIDWESTGudePounds.GUDEPOUNDSUnemployment Line Forms.11221 ChamplainChicago, Il60628(312) 568·4480contact: Olivia Gude and Jon PoundsGudePounds is a public/street art team which produces temporary, semitemporary,and semi-permanent work. We specialize in "tidy graffiti" because wehave noticed that straight lines and uniform letters though lacking modernist dash,encourage people to tolerate and thus to consider the work. We believe that impermanentpublic art suggests a dialogue with people, perhaps an invitation to someoneelse to make the next statement.The content of our work is the testimony of lived experience (our own and others).Our thought has been much influenced by Paulo Freire: "To exist, humanly, is toname the world, to change it. Once named, the world reappears in the namers as aproblem and requires of them a new naming. Men and women are not built in silencebut in word, in work, in action·reflection." We are particularly interested in pUblicl~recounting lo~t or overlooked stories, in publicly stating issues that are too oftenforgotten or ignored.Some projects to date include:The Pullman Project, 1981, a representation of events of the 1894 Pullman strikeat the sites where they occured in the Chicago neighborhood of Pullman, This projectinvolved four months of "anniversary date" life-size drawings and the statements ofkey participants in the events. The strike history had many parallels to contemporaryissues of class, labor, and economics,Unemployment Line Forms, 1983, transcribed statements from interviews of peoplestanding in Chicago unemployment lines printed onto the sidewalk as text accom.panying 111 silhouetted figures. Each of the 111 figures represented 1546unemployed Chicago workers, Installation outside and inside NAB Gallery,Chicago.Future projects will include an examination of racial attitudes to be presented at busstops along routes crossing segregated neighborhoods in Chicago and a piece onmen's and women's conflicting expectations within relationships.Currently, we are departing from our traditional street art materials (chalk, char.coal, ink, and paint) into a landscape project which is a reflection on (or of) utopianthought everywhere,88 CulturalCorrespondence1"1KALPULLI-CASA DE •••ARTE Y CULTURA4555 W. 26th Street \':Chicago, Il 60623(312) 829-4047Contact: Aurelio DiazA non-profit organization and neighborhoodstorefront gallery, Kapulli is an artcommunity center. Its primary purpose istoassist and gear the community towards acultural identity through art and culture andcommunicate, innovate, promote, unify,assist, search, and defend all artistic andcultural discipline,CARLOS CORTEZKOYOKUIKATL2654 N. Marshfield AvenueChicago, Il 60614(312) 935-6188As an artist working in a variety of artisticmedia I am concerned with both visual andnon-visual means, I paint in oils and acrylicand have assisted on murals, although mymain artistic output revolves around graphicmultiples via the medium of linoleum cutand wood block. I have done promotionalwork for organizations in which I am amember, such as Industrial Workers of t~eWorld, Movimiento Artistico Chicano InChicago (MARCH), Chicago Mural Groupand Chicago Indian Artists Guild, as well~sothers, My graphic work has appeared Inexhibitions and publications in this countryand internationally; posters I created for ~heIWW and MARCH are currently tounngGermany in an exhibition named "TheOther America," I favor graphics for the opportunityto provide original works of a,rtwith a wide distribution at a low economiccost,My poetry and non-fictional writin~ h~salso received wide distribution, appeanngmmany periodicals and a few anthologies,and I have given poetry readings around th~country, The overwhelming content of botmy visual and non-visual work is devoted tosocial issues: the need for workers toorganize anti-war and against militarism,ecology,,and American Indian rights~name a few. hI am willing to work and collaborate wit.any group or individual on such issues, as Itis my belief that creativity should work forthe betterment of the world.L1SALEWENZP.O. Box 578416Chicago,Il 606571312)883-1096---~Works with periodicals, billboards, photo,text, installations, film, performance, ~~any other form which makes ~~at wouotherwisebe invisible become VISible,Recently published a book-calendar !?r1984 "A View From Three Mile Island, avisionof the nuke next door. A series ofphotoswere taken inside homes in the Harrisburgareawhich have a view of the damagednuclear facility. Included in a,chronologyof nuclear related history which questionsall formed of power, Available for$6.50 by mail from Lisa Lewenz.Amcurrently restoring films made in Berlinbetween 1927-38, 16mm color andblack& white, by my grandmother; .neverseen footage of friends, vicinity, the time.Work with local community groups, thelegalcommunity in D.C" activist and environmentalgroups, artists, writers and filmmakers.MARCHIMovimiento ArtisticoChicano)P.O. Box 2890Chicago, II60690(312) 935-6188Contact: Carlos Cortez....~......~••••...",Promotes visual and non-visual artsamong those of indigenous heritage of theWestern Hemisphere, We have exchangeprograms, exchanges of exhibitions, and literaryevents with other Raza organizationslocallyand around the continent. We alsopublish poetry chapbooks and posters,MIDWESTDIRECTORYOFLATINO ARTISTS/ORGANIZATIONSSee Directory Listings PageMIRA567 W. 18th 51.Chicago, Il 60616(312) 829-1620Contact: Jose G. Gonzalez"'.........,...~...,"PrOVides information, networking, ad-Vocacy, technical assistance workshops,conferences/seminars, and occasional exhibitsbothnational and international. MIRAPublishes the quarterly magazines,MIRARTE and the Midwest Directory ofLatino Artists/Organizations containing informationon 91 artists and 30 organizationsWorking in the region. (See separateentries.)MIRARTE567W.18thSt.Chicago, Il 60616A uarterly magazme . pu bliIShedb y MIRA ,whiC~ provides information ~nd net:~~k~na~ith Latino artists both regionally . .;1 ally Each issue features the followingIon I . departments: Otras Fronterasregu ar tr ' Otrascovers other regions of the cou~K~ns' £1H das local Latino arts organ! '.?n d I Nino features childrens work,Rmcon e an individual Latino ar-Visitando a feature~ . ed nationally. h work IS recogmztists w ose. 11 The next issue willfocusand internahona y', ' $5 00 peron women. Subscriptions are .year. See also MIRA.NEW ART EXAMINER230 E. Ohio, Room 207Chicago, Il 60611(312) 642-6236or2718 Ontario Road, NWWashington, D. C. 20009(202) 483-9208iner was founded inThe New. Art Exa~ a visual arts publica-1973 in Chicago. It 1S , hprovidescloseuption of 36-40 pages w h Iecfj, gonzafesFrom Mhartecoverage of the art world in ten maj~r Midtand East Coast cities. The office 10·~a~~din Washington, D,C" provi~es extensiveEast Coast coverage, including Mary:land, Philadelphia, and New York .. PubIished 10 times a year, the ClTculahO,nis,b t 12 000 Subscribers are artists.a ou " lib . nsmuseu m curators , educators, I rene ,stu1~~t~~~~~~~~~;0:7~e~:a~::~ial serviceh racticing artist through the publicat?t e l p ncles that tell how institutional declotion a ar I d mmensionsa~ect~ng art~sts~r:rt7~0 ~h~~ationaltary projectms region f m for artistsconsciousness, an open oruh letters to the editor, and news onthroug , , hibition opportunities andcompetItions, ex Iclassifiheds. th the Examiner invites an artEac man onrson to contribute an essayworld pe, f anal interest. Anothersome subject 0, ~~s Press Review, a criticalregular feature IS tI ok content and hisdescriptionof theblou h~ a~d little.k~own arttory of both esta IS eperiodicals, , hibltions of ac-The Examiner reviews eX haws by undd t portance an d sknowle ge trn , ts Many little-knownhe~alded younJ~~:~I:~rk reviewed for theartists have ha tner A recent and typfirst~imein th~~~a~1 42 'reviews of galleryleal Issues ~u 1 states In order to focusexhibitions In twe ve the Examiner pubitsregional covera~eEast Coast editions,lishes Midwest an Iews are zoned in eachThree pages a f reviedition,CulturalCorrespondence 89

MIDWESTTHE ORIGINAL ARTREPORTP.O. Box 1641Chicago, Il 60690(312) 588-6897 C ton act: Frank SalantrieTHE PEACE MUSEUMlWI364 W. Erie Street • • •Chicago,ll6061O(312) 440-1860 .. ,.Contact: Mark Rogovin Y ~JOYCEREBORA6200 N. Forest GlenChicago, Il 60646(312) 736-8159ILLINOISMIDWESTTOAR IS a SIx-page h"commlted to the mont Iy newsletterpreservationhSIan, and progress f ,compre en-Iy OPInionated fOfU: ~rtlst~and art " A frankeitheranonymous or :J~b ich the articles areCourages contnbutlons 0 ~,th~ edttor, It enexpressed"A . f OPinIOns, clearly. . . n occasional Icntlcism by "M k T co umn on artar wain" ls tvr» Iclastic. Subject m tt 5 ypica ly icono-~ap, focusing paarti:~I~r7ges all over theI~Ues affecting artists in ChY on the publicphcation everywh j icaqo (and by tmroARROAR "Ifere e eel A sample 01. art (and I' .serves such wonderf 1 diving artists)why does it need u I an useful purposet ever-c lmbin h do survive and wea' 9 an outsjust"With the dearth of~~/ts wo~drous magic?"average museum v· '1 o,rmatlon blunting thety lh lSIor s awar f, e skeptic has t eness 0 realip:ople... are serv~dw~nd~ h~w well thedlences the dearest of y ~ OWing... augovernmentd object. While the... an othe blprice, can collect th rs a e to pay thecUI~uralproperties, is itinet~e cont~mporaryto tip-toe in, gaze eplebelan intereston?" . ' gasp approval ,an d moveSUbscriptions: $14 50 f .dividual artists inc! 'd' Or 12 Issues; for incraftspersons$9.0~ f Ing1P2hotographersandOr ISSues.THE PEOPLE, YES\P.O. Box 43054Chicago, IL 60643(312) 388-3871contact: Allen SchwartzThe People, Yes! holds a festival of pr~gressive art and cu\t~re each May InChicago, including mUSIC,theatre, dance,.t' poetf tl and the visual arts. Throughwn mg, 7' d"a combination o{ performance, \SCUSS\o~,presentations, and exhibitions, our work \5designed to 1) build a sense ~{ the continuOUStradition of democratic and progressiveculture in this country; 2) create .acrit\ca\ consciousness of the role of culture Insodety' and 3) promote the development o{a\l ex~ressions of peoples' culture in theUnited States. We are pledged to deep.enthe consciousness of culture as a movmgforce in the struggle {or democracy, peace,and equality.90 CulturalCorrespo d n enceThe Peace Museu th 1ItSkind In th m IS e irst museum ofe nanon a mu dto explorinq rssu f seum edicatedh es o war and ht e visual litera d peace troughthough there ary, an performmg arts AIhre many wt roughout the ar memonalscountry th hbeen a museum In th U' ere as neverted to raising the ubl~ mted. States dedlcatheissues InvoJV~d' ~ COl~~clausness aboutThe Peace Mus In UI mg peacecation through e ~u~ provides peace eduandfestivals, as w:1l 1 at:l~ns, films, lectures,outreach, research and rough educationalThe Museum ISals~ d awards programsSource Center and evelopmg a Peace Repostersand th currently makes booksh' 0 er m t It rough Its M a ena avaJlableTh useum Store.'e Museum Was fa dJomt efforts of M un ed through thearJone C Brepresentative to UNICEF enton, the U Svm, a leading Ch and Mark Rogo-SIX years workmg I~ago murahst who spentseum a realtty R 0 make The Peace Mu-"5000 Buttons Thecent~xh bI ItJons inclUdePeace Movement " ~, History of the U Scago Area ArtIsts ~n :eecon~ ,~nnual Chl-Games and Or ace, Peace ToysCh naments " "G 'ance" -a coli t ' Ive Peace ashima and Nag:Zal~n of drawings by Hlro-Martin Luth . I surVivors and "Der Kmg J ' r., r., -Peacemaker.Idr .b h aw 1.0. pencil and pastels and paint in. ~t acrylic and oil paint, workinginareal.lstl~ style. Lately, Ihave been doingselfpor.traits involving botanical situations [alsoteachpainnnq. ~and drawing to seniorcitizens... The art~ community in Chicago is very!Ively and interestmq. While f enjoyattendtn~lectures and panel discussions by otherartists and exhibiting in group shows Ipreferwar ki109 a I one. Iam Interested . inmaking 'a strong personal statement and havefoundcommittments to groups too time consumingin the past.SAHOTRA SARKAR(November throughMarch)Department of PhilosophyUniversity of Chicago,Classics 17Chicago, IL 60637(April through October)46 J. N. Mitra RoadDarjeeling, 734101, IndiaJournalism. Reports and writes on local~ultural response to imperialism and cajon'lalism in the Third World. Area of specialin·terest consists of the Eastern Himalayas,East India, Burma, Thailand, Bangladeshand Malaysia.Mural directed by John Weber ..u -d. ' nl ospara biunfar," 1974 version.TRUEVALUEVISIONARIES11221 Champlain Ave.Chicago, Il 60628contact: Jon PoundsFounded' In 1980 . We believe inrenovating the world; we are starting withourownf . ron t pore hes. We work without~r~lt~and with .the materials and tools at' n. e recogntze that in art as in renovaonone doe. s not start totally from scratch.I,We recognize . th aIart and renovation arenecessanly temporary.noWe areda groupff0 ormer adult primitiveswe ucatedb rt· . . 'Teco '1" Y a mstltuhons, seeking amod.nCtlatlon ofour newIy formed posternlstsensib·l·t· . h•. f Illes Wit our former pasonsorSOciI IspeCtIClty,1.content, purpose, anda re evance.promBelieving Ih t thl' a e purpose of art is theCont a Ion of radical thinking and that theidealemporary.gaeryII does not provide anoften :;;~ronment for radical thought, wedispl . alternative places for making andis Ih a¥Ing Our work. Another of our tenetsing toe Imposs'blan I ~Ity of consistently confarm-Y particular ideology.Wearese' .Complete a ml-soclal realists. We are not inSOm . ccord as to the meaning of thisemamta'thrnarginall In. at we are realistic, but onlyhighly y. SOCiable; others that we areFOund.soc,al'butsomewhat unreaI'Ishc..POund 109 members: Olivia Gude, Jons, and Jno Cook.IiJOHN PITMAN WEBER4830 N. SpringfieldChicago, Il60625(312) 583-9890Muralist, printmaker.Done: murals-painted, concrete relief,mixed media. Workshops on group designand drawing. Writings, slide-talks, consultationson community-based public art in U.S.and Europe.Seek: collaboration with artists, architects,planners or work team on expressiveelements in built environment.Worked: mixed Latino-Anglo areas-allages, students, elementary teachers.Biography: founded Chicago MuralGroup, 1970. Solo studio work refers towar, repression, struggle, family.Hopes: work with unions, churchs,abroad, and in new media (clay, projectedimages,etc.).BARRY WEISBERGVIEW PUBLICATIONSAND PRODUCTIONSBox 6057Chicago, Il 60680(312) 233-7437Activity in the field of art and culture includesthe following:I. Assembly Lines and Assembly Minds.This is a study of the origin and developmentof American culture; both the dominantreactionary culture and elements ofour democratic culture. It will evaluate therole of both the economic base and thesocial-political superstructure in the evolutionof culture. The book will be published in1985.2. Our Democratic Culture. This is a narratedslide show containing over 600 slideswhich review the evolution and developmentof the elements of our democraticculture in America. This slide show Is currentlybeing produced as a video narrativefilm for television.3. Art for Democracy; The Last 100Years. This is an exhibtion containing over500 images of painting, graphics, and cartoonswhich portray the struggle fordemocracy in America over the last 100years. It will open in 1986, on Ihe 100th anniversaryof the eight hour day, in Chicago,and tour the United States and Europe.4. Urban Policy on Art and Culture. Our·ing the campaign of Harold Washington forMayor of Chicago, I co-ordinated specialevents, and functioned as the Ilason personfrom the campaign staff to the various Artistsfor Washington groups. Iparticipated in thedevelopment of a broad, progressive muncipalpolicy for art and culture in Chicago. Abook on the campaign, Race and Reform,Why Washington Won in Chicago, waspublished by the Chicago Review Press inSeplember 1983. In addition, a photo exhibitionfrom the campaign is underpreparation. Therefore I am interested incontact or discussion with all those who areinvolved in the planning and implementationof cultural policy.5. The People, Yes! This is an annualfestival of progressive art and culture held inChicago, during the month 01 May. Thetheme is taken from the poem of the samename by Carl Sandburg. I am one of theoriginators of thiS festival and participate annuaHy.(See also seperate entry.)Iwelcome contact and discussion with anthose interested in the projects outlinedabove, or related topics.Cultural Correspondence 91

MIDWEST ILLINOIS IL. KA. MI. MIDWESTand tours exhibits of visual artists fromitsregion. TRAC's major goal is to heighten anawareness of place and personal identityin~estern Illinois people through arts experiences.The largest of the small towns and ruralcommunities served by TRAC have lessthan 5,000 people. Because of a cultur'change brought about by the recent aqriculturalrevolution, the soceity is losing itsinnercohesion and coherence.TRAC was formed through invitationfrom the Dean of the College of Fine Arts torepresentatives of several small communitiesto create a vehicle to act as a liaisonbetweenthe university and the region for thesharing of arts resources.We do not work with any specific politicalgroups but send quarterly letters to allofourlegislators that articulate our needs andgoals. At national arts organization confer'ences, we define the characteristics, needs,"'UKEfMJJact to bring about the recognition that ruraland quality of small rural communities, Wepeople who do not happen to be LatinAmerican,American Indian, or black, are STIUa minority. We find that representatives ofthese latter groups are hostile to this fact.Cartoon by Carol' 81m pSongrammingranges from interviews to musicandradio theater, We are a collective of sixpeople, and our programming includes alargercircleof about 20 or community peopleandgroups, Presently, we are affiliatedwiththe Studies in Social Change programatSangaman State University.Our locally-oriented programming overthelastfew years has tackled such issues asthe treatment/internment of NativeAmericans,nuclear war/atomic energy, thepoliticsof Third World music (blues, reggaie,Fela), new wave protest (e.g., "NewWaveWomen and Sexual Politics"), laborsongs,Latin American neocolonialism, anda regularfeature of Crystal Radio: an interviewprogram called, "Why the Left?"Theseare just a few examples of the manyshowswhich we have produced. Write us orcall for more information concerning purchaseof our tapes. We presently have abrochure in the works.QUINDAROBox5224KansasCity, KA 66119Contact: Fred WhiteheadROBERT WALDMIREDARK AGE GRAPHICSCardinal Hill Candlesand CraftsRR2Rochester IL 62563(217) 498-9375Informative, educational, frameablewildlife notecards. Each card contains-inaddition to a drawing-s-an in depth speciesprofile containing important informationand fascinating facts. Two series which areavailable are four OWL notecards and fourPREDATOR cards. There are also otherprints, posters, and environmentally relateditems available.THOMAS EDWARDDURUSSEL WESTON2806 PittsfieldAnn Arbor, MI48104(313) 971-3984I have been producingand exhibiting artdealing with the theme of the threat ofnuclear conflagration for many years. Iwould be Willingto discuss my loaning, andperhaps even donating, such art work toorganizations dealing with peace/fairness/equality given there are no politics I objectto.Currently, Iam exhibiting enn-nucleer artwork at the Detroit Institute of Arts; ARTPEACE In Lansing (the Popular ArtsWorkshop); with forthcoming exhibitsscheduled in Detroit and Ann Arbor. Icanalso supply poetry and lectures regardingthis topic, if an event occurs.JERRILEE CAINTYSONTwo Rivers Arts Council204 Sallee HallWestern Illinois UniversityMacomb. IL 61455Iadminister TRAC .and small town co ,a c~~sortlum of ruralsupport the art .mmumties organized to!RAC entry). I :o~d ~~:t:r~ Illinois (seeIn raising human .0 a more workawareness through ~otentlal and culturalregional cultural cent e ai by wOrking in apresent work' elr. 00 much of mym vo ves fund '.marketing, and hold' h ra.lsl~g,together.mg t e orgamzatlonMy hope is to find e Irecognize the culturaf op e.or a place whoby the "bt , detenoration causedIgger IS better" sy dprevalent in agriculture and n r~me nowwho are dedicated to w . SOCtet~;andthe affected pe I orkmg to achIeve inhart Ope an awaren fh'entage as an identit th ess 0 t elfI would rather work rh ey d can .": Proud of.M '. an a mmlster.y speCIal tnterests are t Iperiences that stimulate an~ ead arts exawarenesss.I have . awaken selfRhyne of the San studIed with Janiestitute; Jean Hou t FrafnclSCo Gestalt In-M· d 5 on 0 the Fou d t·In Research' th p n a Ion oftute in San Fra~ . e sychosynthesis Insti-CISCO; and have my Ph.D.92 Cultural Correspondencefr~m NYU in the psychology of symbolism.:nJo y workmg with people who are~:~r men,dedl'fto a, search for meaning during- I e Crises.See also: Two Rivers Arts Council.-..COUNCIL INC ltYJrTWO RIVERS ARTS204 Sallee H~II, 9O

MIDWESTMICHIGANMICHIGANTHE PERFORMANCE NETWTHE POPULAR ARTSWORKSHOPP.o. Box 15052"Theatre is a weapon and it is thLansing,MI 48901-5052, e people who should wield it "(517)882-7972The Performanc N k -Augusto Boal Th t···fContact: Gary Andrewscollectively-run in: etwor of ~nn Arbor (PNAAJ is a' e~er~ the Oppressed.space. It grew ~ut of~: th~atr~ tncluding additional shop n~~ proftt corporation, aThe Popular Arts Workshop (PAW) waswork together through th~~I~~sfm 1~79 about how politicaliy-c~~;e~ a~d ~orkshopfounded in 1976 by volunteers who believedempty warehouse into w ki or c ange. In January 1982 b e artists couldand we were forced to ex or indeveloping a "NEW school of Arts." PAWl~~ studio space, but the City refuse~et eTJan to convert anserves as a catalyst for group artworks. Wenow being made into artis~sn m~oa sm~1Itheatre. (The rest of thi ? adow.public accessplan, design, and render murals and environmentalartworks.We sponsor public artsOur space is d . studies, uruon offices and s m ustrial complex isdiscussion of PoJit~sllglnedto promote the produ~tion arts organization offices.)d . a y-committed d ' presentation h fbi .events, concerts, and other performancean cmema through work h an experimental theatre lit ' ex I ition, andart,s. Our community base is the Central Mi- Lansing, MI 48901The PNAA space is ava'j sops, screenings, installations ,I erature, music, video~tllganarea. Projects are operated generallyContacts: Kay McDuffienity. As Ourname impi' Iable fr nominal rent and provid:erformances, and Critique;In partnership with businesses community214 Woodlawnand the community p~s, w~ unction asa liaison amon ~~qUlpment to the commu~group~, or the local commu~ity college.Lansing, MI 48901the arts community· W AA IScommitted to the activ g a lIsts,political organizationsf . e aveho h d emvoveme t f JI 'So~etlmes members receive fees for specific (517) 371-1369Ior~tnces are signed for the h use. a young people's theater n 0 a members of~roJe~s. "!Je are an Equal Opportunity openDescription:DCa y composed sym h eanng Impaired; women' . company whose perwhichlater toured u~' ont a festival of Black indep ~ musl~ concerts; an original~amzatJon, tax-exempt, non-profit corporetfon,and licensed charitable group;performance diSCUSSiO~~:ocala; .~nd other Jabor_o~:n:nt cmema; a Datto Fo pla~:mbers ofIntemational Community Muralworksand critiques. We a~ut politics and culture. "Work e~ theatre featuring postandarchival work in video ~~r~ncourage the production a~~n Pr~~~ss" features newlanc~for Peace (Ann Arbor), and the ArtsAll' Network (San Francisco), the Michiganth Ind~h~future, we hope to su .ugh Our tape installations exhIbItion of innovativeCouncil of Greater Lansing.e lstinction betw . rvlVeour financial r bl .issues. een artIst and audience whil: d O elms.and continue breaking dPast projects (from 1976) have includedeve opmg new f . Ownmany outdoor, indoor and portable muralsTHE AMERICAN orms around crucialfor. parks ,Spl ho ·taIs, an d businesses' an ductions,C" ammated 20' x 12' mega-puppet for an ' ArtsconstituenciesQ:cus; and "The Murinal" at the Ingham"Romiet and Julio," from the Ann ArborullntyNFairgrounds.PAW publishesMedieval Festival.W Blankfas I I ewsp '. revI·des workshops and tourso oca pubhc artworks.MAURICE GREENIA, JR ~APESThe American BI k202 Piper .Iii'organIzed for the a~ Artlst, Inc,Alternative Press(ABA) isDetroit, Ml48215 .ll'a~d educating the ~bToseExhibiting Servicesof developmg(313) 822-9358 ", ....wIth emphasIS on th lelto the cultural arts4426 Belsay RoadGrand Blanc, MI 48439Africandescent SJn;ec~~~rleof peoples ofpresented programs and ' the ABA hasNUESTRAAR(313) 742-9583MICHIGAN TES DEport amateur artists sc workshops to suppublteIn understandin hoel chIldren and the 130 Grand Bmaker. J do sidewalk chalk drawings withI am a poet, painter, sculptor and fUm· Contact: Casey Hillthe cultural arts It I 9 ~nd partICipatingDetroit, MI 4;~i~vardpoems and sometimes street theater. IhaveTHE LUNCHROOMIntheThworCks of pr~fe~I~~alr~nrtgs to the pubhe(313) 961 37written a book, Worlds, a cosmic proseContact: Car 5 0or 843-2805e ODE (C I IStso lOa 1 poem and have other works in progress.[ RamonDetr E u tural 0magaziAPESisacomb·JOedexhlblt..of alternativehOlt xchange) pr have put out over thirty free "sheets" whichPpoTtUnItles forering an:, n;wspapers an~ newsletters coverarya d:h e con.cept that share~g~am IS committed to Nuestras Artinclude free poems and various broadsidesI Ie universal Janguag x~enences through~aza art and pe:rf~romotes exhibitions of have written. Ialso pass out free art-xeroxoa range of tOpics-political litncultullscend dIfferences In a e 0 art forms trannbornlcs,natlonahty ~~' ~ace, rehgion, eeo-moviesetroit area. rmance in the greateraround th ra - or small press bookfairs'copies and originals. Iwould like to do moreicats Will b: count~y. Your books or periodandto get more seriously into musicAPES exh. prommently displayed and theo 1ectives of this ,e mClty and sex Thand theater.Iblt will be staffed at all times.direction of BIackProgram art are to deplct th eMy community is the planet and theYLiteratureAPES OUrentr E . ~ WI ·11 a Iso be listed in the free~t~Sand prOVIde the 'p~nbcl OUTage Black ar~U.S.A., but more immediately the Detro~Ive nch artIe with reUGHTWORKSarea with some excursions, mainly to NeWcover of~~Iblt Ca.tal~g. This will feature apresents an expressions The presensinglethem:~~'~~ afrtexhibit foc~~~ also P:O. Box 1202tion. ICmform ation an d a 50-word descrip- 'MAGAZINEgraph" e pubhcatIon on display biblio-York City. Imostly work alone but am openIto some projects with groupS of artists andFord Brown, and others.tlve 'I Othe rom a Black p on a BJrmingham, MI48102possibly political groups as well. Ihave lean'lcal d r programs includ erspec_lowAPEScostprOVI·des effective promotion atocumentahon e a geneoloings towards surrealism. Iam involved withAmerica II a I workshop "R g- llghtworks Ma a .Where ~t .the many trade fairs and exhibitsseveral "Imaginary Groups" including "Theary mag~Z1neecture 5enes, and 'a n oot.s m mates new art an~ t~ne explores and Iilumnovators.Xerogra ~ near hIstory of Its in-cals. I~e:rn abo,ut new books and periodi-corne t r~ allers, distributors and colleaguesLiterature/Poetry/ProseMovement toward Peace, Love and Imagination"and over 200 associations. I hopetion in 1984 scheduled to be ew htermgpublica_~anceeventdocu p y, collage, perfor-APES" .Y hto help bring dreams to life and help smash IU can t go in person, "GoingVideo are all explo~~~tatlo~s, mall art, and1St e next best thing.94 CulturalCo misery.rrespondenceIn vanousforms.LANSING THEATER PROJECTP.O. Box 12238Linda IveyReoLansing, MI 48901(517) 484-6147MIDWESTThe Lansing Theater Project was formed four years ago by minority andwomen theater artists, writers, technicians, educators, and parents. We wish to build acompany that will provide more consistent professional performance/technical/managerialopportunities in the theater for those in the community who have beenexcluded from traditional forms. Another objective is to provide more positive andrealistic portrayals of minorities, youth, and women. Our ongoing structure invites communityinput on the subjects of issues, themes performers, and overall development.Needless to say this hasn't been an easy task. We grow and solidify in fits and starts,but are pleased with the caliber of "volunteers" attracted to us for the quality of our pro-and our ability to consciously develop or find material that speaks to/for theour core represents.We halJe to VJritemuch of our material. Productions include: "The Story of the ManWho Tumed into a Dog" by Osvaldo Dragun -quickly becoming a local favorite; shortsketches examining relationships-parents to children, participants/non-participantsto society, battered women and their tormenters. We are developing and have performedsegments of a play "Giants and Dreams," highlighting black artists and activistsfrom the Harlem Renaissance Era. Other work has included classes, workshops,storytelling and performances for community centers, teen half-way houses, churches,local festivals, conferences, demonstrations and benefits.We would like to perform/produce and sponsor other groups more consistently. Toachieve this we're currently seeking student interns, volunteers and scripts. We'redeveloping plans for skill dissemination and gaining managerial skills. We want todevelop one part of ourselves into a production co-op community business that wouldnuture the growth of a conscioUS and conscionable cultural alternative in our area.PRESSP.O. Box 36027Grosse pointe Farms, MI 48236Available from the Lunchroom Press:Menu: A Journal and Review of Contemporary Arts and Letters. Published annually.Guidelines for contributors: Please query first. Menu encompasses all forms ofnew arts and letters and publishes original new works, reviews, nonfiction articles,and interviews. Direct queries to: George Myers, Jr., Editor-in·Chief.and Art Criticism:An Introduction to Modern TImes. George Myers, Jr. In about 20 essays1andreviews the author discusses diverse artists and writers of the 1970's and 1980 5. includingOpal Nations, Dick Higgins, Richard Kostelanetz, Harrison Fisher, StevenLiterature/Poetry:TIme/apse. New poems by Rochelle H. Dubois. The poet is a multi-talented, multifacetedwoman who is well-known in literary circles.Poems:Erotic Mask. 18 prose poems by Steven Ford Brown. In this collection of prosepoems, the poet takes as his concerns the tensions between love and death and theinherent eroticism of the two.Curtural Correspondence 95

MIDWESTMINNESOTAMIDWESTCHERRY CREEKTHEATRE120 South Broad StreetMankato, MN 56001(507) 345-7885contact: Jack ShermanHow formed: Developed out of a midwestconference on Artists Respond to the NuclearArms Race, held September, 1982.We are always looking for new members.Presently we are a small group of volunteer"coordinators," with an active mailing list of70, and a larger list of 300 throughout theMidwest. We are presently trying to clarifyspecific goals and projects, and draw in morepeople to speak directly to issues.ALL CO-OP ASSEMBLYPO Box 14440Minneapolis, MN 55414(612) 376-8357Contact: Annie Young, Director0-11Co-Op Assembly is a non-profit adu-~atlon and service organization for cooperativeorganizations.o ."JPostte page: Cherry Creek Theater,urt of the Daughters." Photo by KarenMcCall,.Above: At The Foot of theMBert ountein I ' "Rape: - d A Woman's Look atR 1?! Brecht's "The Exception and thefr~~;,:hoto by David Tait, reproducede Are Strong."ARTISTSFOR SOCIALRESPONSIBILITY~o 40451lth Avenue Southmneapolis, MN 55407(612) 822-5483Contact: Meri GoldenAT THE FOOT OF THE MOUNTAIN2000 So. Fifth StreetMinneapolis, MN 55454(612) 375-9487contact: Phyllis Jane Rose, managing directorAt the Foot of the Mountain is a professional women's theater of protest, celebrationand hope that has been in existence for 13 years now. Our mission is to participatein the generation of ajust and joyous world by creating theater and related artsprograms which: see, with radical vision, the roots of all issues; create, from thoseroots, alternative analyses, solutions and visions; and honor the artist's politicalresponsibility to be of service.At the Foot of the Mountain endeavors artistically to create theater directly out ofthe lives, values and visions of women. and to evolve new forms of theater, exploringnew relationships of form and content. The Hallmark of our ensemble work is thegeneration of a form we call Ritual Drama. Scripted during the rehearsal process, andcreated collaboratively by a writer/director and performers, a Ritual Drama is structuredto stimulate (and incorporate) audience testimony into key moments of anotherwise fully rehearsed production. Examples include Martha Boesing's Junkier,about women and addiction and recovery, and Ashes, Ashes We All Fall Down, aboutnuclear madness and the denial of death. We also produce plays scripted beforerehearsals begin.At the Foot of the Mountain creates, produces and performs new works, and conductstheater workshops in M!nnesota. Film and video projects, of our performancework make our work accessible to wider audiences.To~ring is a regular part of our performance life. We are s~onsored by a ~ide varietyof groups including theaters, schools, churches, community centers, prisons. halfwayhouses, and grass roots organizations.Member: Alliance for Cultural Democracy.We Are Stron .gUidebook of 9 IS an extraord,'bo progre . naryok presents a startlin sSI~e theaters. Thety ~f popular theaters 9 PI.clure of the vitalidtrectoryof 0 resources ad'st.ones, essays, lists f with photographst Compan' , n alormers W; A res and solhi "e re Siro 0 per-IStories tour" ng presents compti ' mg and r ld anyon, and lists of i eSI ency informmportant resOurces C a-ARTSPACEPROJECTSINC.'400 First AvenueSuite 203Minneapolis, MN 55401(612) 339-4372Contact: Cherly Kartes, Director,..,......",."Artspace Projects, Inc., is a Minnesota~onprofit, tax-exempt corporation, createdIn 1978. The Artspace mission is to assist inthe location development and managementof artists' living and working, exhibition,performance, and support space. Artspacea?~pted this mission in the belief that providinqsufficient and affordable artist's space" Omiscrucial to the cultural and economic vital-96 Cultural Co rrespondenceity of the Twin Cities.rned' Description' . A network of artists . from alldiVid la I~ho feel the need to respond ineffrt ua y as well as in group/collaborativesoc' ostoth I' e nuc Iear arms race and othere Justice issuesinf Work we do' . Pr. rovrtde a c1eannghouse - 0f°rts~ation on political arts and activism toartiof sloe 10I the mid R.~I west. espond to the needs~ political organizations in terms ofgraphiCS o ' war ksops h speakers etcrga.nize events using art ~s a means t~ com~m umcate .ti I ' aft en .In conjunction with localpo!IWee ca orga ruzmq ' . e Iforts. (E.g.: Peace Artpia ;' held the first week in May 1983. Films,bUi~i~ arts shows, poetry readings, etc.,Fh g from Heart of the Beast puppeteatre's ! M hM th annua ay Day event to t e8°000er's Day March, which numbered over, people)Lee Hawkins and Karen McCall of CherryCreek conducting a workshop in a communityanimation.JOHN BERQUIST432 Summit AvenueSaint Paul, MNWorks with folk arts programs and MinnesotaState Arts Board.DAVID BROWN•1913 S. Fifth StreetMinneapolis, MN 55454(612) 340-9431Video documentarian with a video projectorthat allows for images up to 18 feet by25 feet.Cultural Correspondence 97

MIDWESTMINNESOTAMINNESOTAMIDWESTIn the Heart of the Bfessional theater ~ast Theatre is a procommittedto k'Co~munities, whether th war 109withneighborhoods t ey be schools,ownsortt'Wedealwiththemesth't jsaes of mind.ing up and tearin a re ate to the buildbythe acts of na;U~~~~do~life in all its formsman hands heart d ~ the acts of huk' 5, an mmds 0fa es place both' d . UT workIn oars and outdoors, as in".-"Tree of Life"; In the Heart of th~.. ---Beast Puppet and Mask Th eater.RANDY CROCE1823 15th Avenue SouthMinneapolis, MN 55404(612) 871-2835Free-lance photographer with darkrooman~.~omplete audio recording and editinfAecilitles.Works a lot with theM'mnesotagmencan Indian Community and hd d "Th as proucee Drum Is the Heart" I .dl , a multimfeMlaprogramabout the Blackfoot peopleo ontana and Alberta.REBECCA M. FROSTIII Melbourne Ave. S.E.Minneapolis, MN 55414(612) 378-9751J work in political theatre and contemporarydance. I would like to dT0 moreWf,1 hlO9and/or collaborating in experimen_ta t eatre.Teaching' H' h Sch I. 19 00 -guest artist inschools across the country' Coil 4A ' P f ,ege- yearssst. TO., WillammetteUniv. BFA theaterprogram; guest artist variou; universitiesacross ~he ccntry as director, actor and/ortea~her, taught acting (all levels) directing;aat up , theater theory, theate; literature'espeare, voice, dialects. 'v Founding member Dakota Theater Carean.Co-created, acted in and directed allCaravan productions 1977-1983 Cdlrector-in-residence III' Th' urrently, usron eater and~~::;~f ~t~~~~r (actor/director) ActorsAvailble lor gu i k .in progressive th::te~s~r as dIrector or actorour annual Ma da f .hl 'st 1 h Y Y estlval or our recentory 0 t e MI' . . . R'SSISSIPPI Iver, the Circle ofCSee also: Heartland Theatre Collective. IN THE HEART OF THE RIffSD. SCOIT GLASSER3509 Colfax Avenue S. #8Minneapolis, MN 55408(612) 823-8937Director-Actor_ TeacherBackground' 8A St .MFA C . . ate Umversity 01 NYomell University 15 'as a theater profesSionai years experienceDirecting' 0 50 .Shakespeare'toVm er . ,productions fromUSlcas with d'nance of new and ' a pre Ornl-Acting' over l~omPI anYMcreatedscripts.EqUity A~soc. ro es. ember Actor's98 CulturalCorrespondenceBEAST PUPPET ANDMASK THEATRE1628 East Lake StreetMinneapolis, MN 55407(612) 724-9301Contact: Loren NiemiWater Circus. We do residencies andworkshops as well as parades and celebretionsof design and production. In altcases,the theatre seeks to renew our sense ofwonder, awe and reverence and ritual onorder to celebrate the lives of all and themany meanings of being in the pluriformworld.HEARTLAND THEATRE 1If~COLLECTIVE 0c/o 111 Melbourne Avenue, S.E.Minneapolis, MN 55414(612) 378-9751contact Rebecca M. FrostThe Heartland Theatre Collective createsoriginal, politically oriented theatre for pe:'formance in both traditional and non-trad l 'tional theater settings. The Collective isc~r·rently in search of other like-minded m'dividual artists and groups for collaborativepolitical theatre projects in Minnesota andthe upper. Midwest.DEBBIE HEL TZER3317 14th Avenue SouthMinneapolis, MN 55407(612) 729-2373.\...""'-" \,My focus as an artist is to work with otherartists, specifically musicians, set and propmakers, lighting and sound designerS, an~costumers to present a vision of cul turachange. The work explores relationshiPS.ofthe family, the workplace, the media, dailyMe and sex in our culture.I'm affiliated with Nancy Hauser.tIS!ILLUSIONTHEATER528Hennepin Avenue #205 CMinneapolis,MN 55403[6121339-4944Contact:Bonnie Morris &MichaelRobbinsWe'rea collaborative theater group dedicatedtothe production of new works. Partalthe theater's energy is devoted to a ChildSexualAbuse Prevention Program housedinthetheater and headed by a Human Servicesprofessional.BARRYKLEIDERPO Box 7022Minneapolis,MN 5540716121822-3758Iworkin community theater giving voicesto people not usually found on stage. Sometimespoliticalsatire means merely quotingthoseinpower. Ordinary people are seldomfoundon stage. Iteach children from 7 to80indrama classes which focus on "telling ourown stories."I also do radio interviews and documentariescoveringlocal, national, and internationalevents and issues from a progressiveperspective.MINNESOTA '- __INDEPENDENT ...... ~CHOREOGRAPHER'S '"ALLIANCE ~,528 Hennepin AvenueMinneapolis, MN 55403(6121340-1400Contact: JudithMirusMICA is a dance service organizationfounded for the purpose of providing a sup-~rt system for choreographers. The organ-IZation actively promotes and encouragesdance in Minnesota.MIGIZICOMMUNICATIONS2300 Cedar Avenue SouthMinneapolis, MN 55404(6121721-6631Contact: Gary Fife, DirectorMIGIZI produces news and cultural affairsprograms by and for the American Indiancommunity. One of the shows, "First Per-SOn Radio," is a half-hour program that isbroadcast on 47 stations acrosS the UnitedStates. We have a sound studio that is usedfor other audio productions and for teachingIndian students. MIGIZI is Indian staffed.MOYO1753 CarrollSaint Paul, MN(612) 293-0260Contact: Assata KambuiMayo is a guerilla theater and poetry project.African and black culture is exploredwith emphasis on women's roles.NORTHLAND519 Franklin AvenueMinneapolis, MN 55404(612) 724-6795Contact: Ricardo Levins MoralesPOSTER COLLECTIVEMURALISTASINDlGENAS782 James AvenueSI. Paul, MN 55107Contact: Paul VasquesProvides classes in community arts/murals..' ki . rily in silkscreening. We make post-We are a collective orgaOlz atIon wor. 109 pnmla ls for local community and politicald I !. lies distribution as we a . .ers and car s or na rona sa .' bli laces We often teach prmtmg toroups We also make posters for posting in pu IC p terl I. h t t oduce their own rna ena s.people and groups w 0 wan l. pr If_ th . community by helping the organizedWe aim to serve the genera, mu I ~ .t~l~ art projects that support particularggroupS within the community and by mila IO low as possible (75(:-$7) so as tostruggles. We keep the prices of our own wor kasdistributed better to I~~-~nco~e peopl~i'n of 1979 at a workshop at the NorthlandThe collective was 101tJatedIn the spb g d . ace prOVided by our local antl-nu-Cultural Workers Conference. We are ase 10 spclear power and weapons alliance." . ts" "non-arlists"-who are interested inWe are open to new members- d art1s or tly result from the concerns of Indlvidthework we do. The posters w.ed~r~duClfU~~t~group input. Occasionally works areual members and are created In IVI ue Ygenerated collectively. . I h h brochure (available from us for 25(:)Our work is distributed national W y t rou g jd a j ' kein the future to use this system to. d d ertise e wou I .which we mail out an a veruee. I this way we hope to help Improve nadistributework of other artist~ an~ grou)s. ~ h~lp foster mutual awareness amongtional poster distribution (which ISp~or fJn)radical artists nationally (and internatlona y .Janice Lee PerryLisa BlackshearFrank SanderDean ConnersCarla StetsonMarilynn HallMary SuttonLee HooverLee WolfsonRicardo Levins MoralesN rtht d poster Collective.Richard Kees posters from the 0 an ,Cultural Correspondence 99

MIDWESTMINNESOTAMIDWESTNORTHERN SUNMERCHANDISING1519 E. Franklin AM'venusInneapolis, MN 55404(612) 874-1540Contact: Scott CramerWe do movement htribution. Hard work~erc andising and disposters,buttons . ut often fun. We sellshirts, Send for thPeJns'tp,atches, posters T-ea a og.'RESOURCES&AR COUNSEUNG/UNITEDTSCOUNCIL75 w. 5th StreetSaint Paul, MN 55102(612) 292-3206Contact: Phil Platl drartists serVices ,lrector of••••,..,.....~", ...Business-related techn! .(ormation and d . leal aSsistance in-. ' a Vlceareoff d 'opmg artists and art ere to cleveJ-5 organizations.100 CulturalCorresp dPoster fro Nm orthern Sun Catal og.~5~BYN SUE SCHMIDT ~9 Colfax Ave South AMinneapolis, MN ·5540 ' pt. B tIS(612) 823-8937 8 gJ am a found'Theatre Carava mg member of the Dakota1977-1983 A n and worked with it fromCaravan Coli. SParlofthrea0 keta Theatre(through interv: c ive I helped research. tews with Iwnte, perform a d t ocal residents)THE STORY O~ our DAKOTA ROADS:musical play detaili~ PRAIRIE FAMILY (ageneration fa ,,9,the history of a five-DUSTING OFF~' y 10 South Dakota)about the Great 0 HE 30:s (a play with musi~the lives of pe epr~ss~onand its effects onWELCOME HOM~: 10 the Midwest),a small town celeb (. play with music aboutTHEATRICKS' ( rating its centennial) and.acollag f 'andstories designed . e 0 scenes, songsto IOtroduce secondarystudents to different aspects of theatre) Mostr~cently I helped research (using the·inter.abou process) and write a yet untitled playa o~t ~he traditions and values of a farmfamily In the Midwest.I hav~ worked with community theatresasactor/director/costumer and technical directo~.A~ present I am a member of the P1aywnght~ Centers, an acting company in Minnea~olls.Wewill be doing cold and stagedre~dlngs of new plays written by the playwnghtsworking with the Playwrights' lab.As: person~1 projec~ I am presently developingplay with music about temporary officeworkers.Briefly, I am committed to maintainingastrong relationship and cultural tie to the peapleofthe Midwest, although other regions/nations Interest me as well. Ihope to continueto act/write for and with a specific audience;further, I believe that working in a collectiveisthe strongest way to become a part of a strongcultural community.SEZPO Box 8803Minneapolis, MN 55408Contact: Jim Dochniak, editorSEZI A Multi-Racial Journal of Poetry andPeople's Culture was founded in 1978 byJim Dochnlak "to bring about a greaterawareness of and appreciation for culturaldiversity; to provide a vehicle of exposure fornon-mainstream writers and artists; and todevelop ways in which poetry and literaturecan become more accessible to wider audiences."Each issue features poetry, shortprose, occasional interviews, letters and journalexcerpts, articles dealing with contemporarycultural issues, reviews, an-d artwork,often on a thematic basis. Special attention isgiven to the work of Third World writers andto writing which reflects ethnic, class and currentsocial concerns.SEZ is now producing an extensive anthologyissue focusing on "Labor, Literature,& the Arts," featurinq art and literature byworker-writers and artists, and a ResourceGUide to magazines, book publishers,newletters, programs, organizations, unionprojects, etc.All manuscripts and/or inquiries shouldinclude a self-addressed, stamped envelope .Subscriptions: $6, 4 consecutive numbers,individuals: $7.50, 4 numbers, institutions;$3.50, sample issue.NEIL SIELING3412 Columbus Ave. S.Minneapolis, MN 55407(612) 824-2237 horne:(612) 376-3333 work 'I'm currently the exhibitions coordinatorat University Community Video and workwithfilms and video. I've organized conferencesforcultural workers/political artistsandmedia series for educational and fundraisingpurposes.In my own work, I explore video documentaryforms and approaches. I'm interestedinconnecting larger audiences withgood media work which is informative andempowering.The importance of a development of amediacritique and an analysis of the controlofimagesand information is grossly underestimatedby progressive political groupsand individuals.My full time staff position allows forbudget, access to equipment, and networking.I also own two 16mm projectors,screens, slide projectors, super 8 editingequipment, and special projector lenses allof which are available to progressivegroups/individuals either free or for amaintenance charge.Member Alliance for Cultural Democracy,ARTISTS CALL Against U.S. Interventionin Central America, AIVF and theHoneywell Project.UNNERSITYCOMMUNITY VIDEO425 Ontario S EMinneapolis: MN·55414(612) 376-3333•University Community Video is theMidwest's leading video arts and educationcenter, offering programs in education, exhibitions,and services to working artists.Founded in 1973 as part of the "alternativetelevision" movement UCV became nationallyrecognizedas aproducer of regionaldocumentaries and a supplier of mdependentpublic television programming.In the past years, UCV broadened its epproecbby working with artists who are explcrtnqand developing new video presentationformats which include performanceand installation as well as the traditional ex-WestEnd Presshibition methods. UCV also assists artistswho use video with other art forms such .asmuslc and dance, and artists who work Withabstract forms, computer imaging, new narrativeas well as traditional documentarystyles. .UCV was founded by the Mmnesota S~u~dent Association at the University of Minnesota.It is now an independent .taxexemptorganization, serving artists,students, community groupS, and t.hegeneral publiC. UCV continues to provideservices to U of M students at reduced rates.These services are subsidized by student activityfees allocated annually by the studentassociation. .PubliC, private and indiVidual do.natlonsto UCV help pay for services to artists andcommunity qroups that cannot afford thefull costs of services.VlCTORJARAMEMORIAL FUND3130 18th Avenue SouthMinneapolis, MN 55407(612) 339-6101 or 874-8139Contact: Heather 8aum orBill ZachmanThe Victor Jara Memorial Fund was establishedin 1978 with the common agreementthat culture will play an important rolein building the humane world which we allenvision. An active, progressively focusedcultural community has the potential forVictor Jara Memorial Fund; reproduction of anoriginal Chilean album cover by Vincenteand Antonio Laree.popularizing a people's cultural movement.Some of the goals with in a progressivepolitical context are to promote local talent,to bring quality national and internationalmusicians and artists to their area and towork with other organizations and artists topromote peoples' culture. The V.J.M.F. isalso a funding source established to providesmall low interest loans to all types of artisticexpr~ssions that seek to popularize themovement.WEST END PRESSP.O. Box 7232Minneapolis, MN 55407(612) 822-3488contact: John CrawfordFounded in 1976, West End Presspublishes literary works with a left or laborflavor for distribution in bookstores andlibraries and throughout the movement in itsvariety of forms. We were formed with aneye to publishing neglected midwesternwriters such as Meridel Le Sueur, MannyFried, and Don West. We are continuingthis policy."We" includes John Crawford, editorand publsher; Anya Achtenberg, long-timeassociate and most recent associate editor;and whoever else contributes by readingmanuscripts and related work at low or nopay. West End Press currently occupies anCulturol Correspondence 201

MIDWESTMO. OH. MIDWESToffice space with Sez Magazine in Minneapolisand enjoys fraternal relations withMidwest Distributors in Kansas City.At present, WEP is trying to affiliate withlike-minded publishers, distributors, andpolitical groups where feasible either onSin~le projects, or on a more'long-termbasis. We have no objections to grants suchas NEA or other contributions and are Consideringworking towards inclusion undertax-exempt status.REGISTRY WOMEN'S ART OFMINNESOTAWARM414 First Avenue NorthMinneapolis, MN 55401(612) 332-5672Contact: Catherine JordanIW.~ •• ,~A~Mis an artist-run, women's art OTg~~I~~tJon.Itsmission is to increase publicvlSlblhty of the art of women and encouragethe ~reatjve growth of women artists. WARMp~bhshes a journal which examines issuesre e~ant to artists and women and offers thepublic 10 exhibitions a year a "F '.Pro t· "I ,emmlstspec rves ecture series and a mentorprogram for emerging artists.TI-lE FOOLKfLLER ETC "2112 West 39th Street • . gKansas City, MO 64111(816) 842-4969"The Foolkiller Etc'"membership collective th IS a~ 0'penstagefor both musi d hat mamtams ain 1970 Th F c an t eatre. Founded, e oolklller's e h .always been on c ti mp aSIS hasrea mg an .stage-a society of p rti . accesSIbletators. a 'c'pents, not spec-The Foolkiller in it's early yan active community life fo e~rs providedand reached out to the r Its ~embersmunity at large in a . progressIVe Com_series, diSCUSSion r vanety of ways. Filmdulicmer and othegrOuPs., chii.1dren'stheatre,mUSlca mstrsons, a poetry series and umentIesafew. In 1984, the Foolk~ore, to name butsurvive and to Continu t er ISstruggllOg toject of community ne ~ °Acr~a~~a vital proandtheatr e, cttvlhes in musiced. e are two areas that have suriviv_MUSicperformance n' ht hmike policy and feature ~~n~er~v~ an Openourbest local talents as II Ymany of, we as national102 CulturalCorrespondencenames in folk and progressive music.Theatre productions are primarily originalone-act plays or skits by local writers.Theatre council does read scripts sent tothem from around the country.The Foolkiller has provided and continuesto provide a forum for progressiveculture. In 1978, 1979, and 1980, TheMIDWEST DISTRIBUTORSP.O. Box 4642Kansas City, MO 64109Contact: Fred WhiteheadBook covers from Midwest DistributorsJACI( U111101rl'III~Illf)NIII~I~J~Foolkiller organized and hosted the MidwestCultural Conference which brought to.gether from across the country progressivewriters, poets, film-makers, and musiciansof several generations. In 1984, TheFoolkiller will host the Annual GatheringolThe Midwest People's Music Network.FAMilYVIOLENCEPoems on the PathologySince 1978 '. . .ddie f th ' OUrorgaOlzahon has distributed small press literature across the rm -We oJ e c~untry, supported by grants from the National Endowment for the Arts.W a so ,:"al books to libraries, bookstores and individuals nationwide.grass e strtlVAe to promote indigenous peoples' culture asserting the fundamental,roos mencan If' h I db'togeth' va Ues 0 progressivism and cooperation. We have e pe nngfairs er wnter~ and other artists at public events such as readings, colloquia and bookpOSS;b~;~~~:gmg local participation in these events. We have returned as much asW I ~roceeds of what we sell to independent publishers and cultural workers.eare ooklOgfo rt· kid . Ineed t h race am ind of book; one which speaks to persona an SOCIaSa t esamer fib .tertain Ime, a use u ook; or one which so blends art and necessity, enmade~et~t a~d the news, action and response that the reader is in some sense rethem.Y e oak. We do not believe the times give us the leisure to simply escapeOf necessity th bl' hers s h ,ese are small press books. We include the socially minded pu IS -ca~seUt~ea: L:wrence Hill, International South End and Charles Kerr in our lists beate-wnedYppubl'akh'to the.needs we cite,and because they are not a part of the corpor-that off IS .m.g mdustry. We also include some of the smallest presses-onesCer a truly dIstinctive Voice.atalogue.GfRAFFlCSEI~nPearce, Phillips StreamerContact:Ellen PearceP.O. Box 1024Rolla,MO 65401(314)364-5061I.Purpose: 1) To stay alive. 2) To promotethingswe believe in: art, peace, subtlety, andtaste.Girafficsdoes commercial graphic work:book covers and illustration, book design,specializedmaps, T-shirts, and misc. In addition,E. Pearce paints (acrylic, semi-abstract)and does lino cuts and scratch boards,diversesubject matter.Community served: Academic-becausetheyare the ones who come to us.Origin: Giraffics grew out of a longstandingfriendship. Not looking for newpartners, but always open to collaborationwith other artists.Aspirations:To get out of the clouds and tothe people.ALEX"SANDY" PRIMMRoute4, Box 23Rolla,MO 65401(314)341-2464I am involved with several politicallyrelated art and community projects in theOzarks.Some of these activities include:-Freelance writing on environmentaland related subjects.-Part-time employment with a regionalplanningcommission in six Ozark counties.Besides regular public relation-type functions,I have organized a community "selfhelp"workshopfor local groups and a contextfor local artists and craftspeople.Through this job I've developed contactWithlocal elected officials and have beenable to promote several somewhat progressiveprojects,the latest being a regionalland trust.-Support for the Ozark Area CommunityCongress. I've been active with the waterCommittee.-Coordination of a local solar hometour.-Artist-in-residence, 1983-84, MissouriArts Council, for schools and senior centers,fOCUSingon community oral history. Also,Completing Missouri Committee for theHumanities grant to complete Ozark riversoral history project. These activities take upafair amount of time but most effort is spent~n various writing ~rojects. In this regardve helped set up a user's group for local~wners of Kaypro IIportable computers andfin~.the interchange helpful in speeding upWritingas well as making the flow morereadable.I try to serve as a catalyst and help a varietyof activities ferment, but enjoy the conservatismof the Ozarks. Nothing much happenshere. The ticks are one of the biggest problemsunemployment is nothing new. Butthis is 'changing. Too many of us city-thinkingpeople are moving in. Too much dioxinand who knows what else too.WORKERS'DEMOCRACYPO Box 24115St. Louis, MO 63130W kers' Democracy is an alternativeor . St Louis MO. Located in thenewspaper In., ubdioxincapital of the U.S.A., they. have p .Iished information about dioxin, Its asso: la -tion with the war in Vietnam, the connectionof its development to a capitalist eco~om~,and the continuing struggle surrou~d;g 1\They also distributed a po~ter rerrun ~r ~the danger of dioxin, free 10 the S1. oursarea.ATHENS TAPESTRYWORKS. INC.PO Box 663Athens, OH 45701(614) 593-7645Contact: Carol KuhreWorking collaboratively in a not-far-profitcorporate structure,theAthens Tapestryf-Works Inc designs and produces one-oki d'fibe;'hangings and wall sculpture ona- 10 ., . ATW works with galleracomrrussrcn baSIS. . d theries architects, interior deslgne~s, an .0 fagents to produce works in a Wide vanety aAUTUMN '80styles and media, including: stretched fab~icrelief, woven flat tapestry, printed and qui]-ted relief and wrapped-element constructions.On -site visits and consultation withclients are a fundamental part of the creativeprocess, which focuses on the method of"co-operative designing" and completeequality of salaries among artists at the Ath·ens Tapestry Works..-.STEVE CAGEN ~1751 Radnor RoadCleveland Heights, OH 44118(216) 932-2753I am a photographer, and I also work as asltde-show producer, poster.~aker,graphic designer, and critic. My mam areasof work have been labor photography andphotography for solidarity mo~ements. Ihave worked for a variety of Unions, socialagencies and Left organizations and campaqns,. an ' d I have been widely publishedand exhibited. My current goals are to exandmy work in and for the labor move-Pent and solidarity movements (partlcu-~r1Y Latin America). I'm eager both to sup-Iypictures to groups working in these areas~nd to take on new projects and assl~,ntI also look forward to the possibilitymen s. d dot aphicof producing slide shows an omg gr .design for Left groups. Finally, I. "" I~terestedin developing cultural actlvtsrn 10eneraL I was a co-chair of the cultural comg..rrussron of New American Movement, andam currently functioning in the same ~pacityfor Democratic Socialists of America., Art Registry or Minnesota Journal covers.WomensSPRING '82CulturalCorrespondence 103

MIDWEST . OHIO NEBRASKA MIDWESTCOLUMBUS ARTS NETWORKc/o Free Press, Box 3162Columbus, OH 43210(614) 299·2497Contact: Paul VolkerGiving artists the ability to produce and control that which is not already available tothem is a key to building a more socially aware and involved "State of the Arts." TheColumbus Arts Network (CAN). in an effort to fill this need, seeks to provide localcommunity artists with contacts to such things as materials, alternative exhibitionspaces, printers and publishers, as well as creating and providing our own resources.CAN is divided into subgroups defined by areas of activity-a gallery group, a liveevents group, a publicity and publication group, a films group, or any area of commoninterest. Each group may consist of one or more people working together or withother area groups. Activities thus far include nu-music concerts, the opening of REDKAT GALLERY (currently re-Iocating), a gallery serving as a local activity andmeeting area, and film showings Our proceeds basically go to Cover gallery expenses,our main concern at this time.It is hoped that the interaction between people in various creative fields and theircollaboration on common projects will provide them (us) with a stronger base forcommunity involvement, lending support to the kinds of projects already underway,as well as inspiring new endeavors that the artists themselves facilitate and run. Manyof the people in the Columbus Arts Network also work with various progressive andpolitically oriented groups and within CAN engage in activities under the area nameART NOT WAR. Others in the group have little or no contact with these interests orare not as politically motivated. CAN has a loose network of membership, withnogroups.formal membership requirements; we are interested in contacting other activist artI WANNA MAGAZINEBox 166Wright Bro. StationDayton, OH 45409I WANNA MAGAZINE covers the contemporarymusic scene with articles, interviews,and cartoons, A sample copy is $1;subscription is $7 yearly (including quarterly,mailing list for concerts, monthly supplementwith record reviews).104 Cultural CorrespondencePhoto from the Cleveland Beacon; SeeSteve Cagan.~"'H~~I••••••• ...,'....DSA CULTURALCOMMISSIONc/o Steve Cagan1751 Radnor Rd.Cleveland Hts.. OH 44118The Cultural Commission of the DemocraticSocialists of America is in formationand is eager to make contact with othercultural organizations. We are attempting todevelop collectively some type of socialisttheory for cultural work, to promote culturalactivity within the socialist movement, andto develop ourselves as part of the growingnational and international network ofcultural workers.JOEL LIPMAN2720 WinstedToledo, Ohio 43606(419) 473-0958Poet, teacher, community literary organizer,correspondence artist. /smless Images,(SANS)THE SLEEZE ART NEWS,BAGAZINE, poemvelopes.TOLEDO POETSCENTERUH5070C, University of ToledoToledo, Ohio 43606(419) 537-2983emma.-=aThe Toledo Poets Center, supported byThe Ohio Arts Council and others, sponsorsreadings, workshops, and residencies. T~eCenter works broadly with area groups Inmeeting community needs in matters involvingpoetry, poets, and writers. Asidefrom publishing occasional books, thegroup has organized Inmate Arts Workshopsat Lucas County Jail and CountyWorkhouse.CI d II from the Emmv Gifford Children's Theater.Julie Valentine in n ere a, ~THE EMMY GIFFORD CHILDREN'S THEATER bd3504 Center Street gOmaha, NE 68105(4021345.4849Contact: Nancy K. Duncan, Executive Directord f e mainstage production perThe Emmy Gifford Children's Theater pro uc~ ~ I pourownscriptsfocusyear,eachone running 30 or more performan.ce:~n a~d et~:i~ families. Many of the~eingon family relationships and concerns of child d te or adpat them to fulfillscriptscenter on well- known c hild '5 classics but we up a thI ren .' TILE MATCH GIRL was ewhatwe feel is the essential aspect of the scn~t. OU~ LI f the Revolution and thesamestory as Andersen's but we set it in Russia on t e cha 0 e from one form of go v-audience saw the Little Match Girl caught between t h e c angemment to another. k ctly from the book, but we willOur production of HUCKLEBERY FINN is ta en z Th ter in the role of Jim, andfeature John O'Neal, formerly of the Southern Free ea ,Will center on his relationship with Huck. . I hether it is historically "cor-We use minority performers consistently In any r~ e, ~ ority members of our aurect"or not because we feel it is most importa~t hOT.mlwn community and to workdienca to realize ' that it is possible for them to I' ive in t err o nintheater if they so desire. t which tour schools and com-We develop solo performance pieces for ou~~ch ~~ theater feels is important tomunity centers, centering on aspects of life w I~e w: tour a one-woman show encommunicate to audiences of all ages. Fo~ e~a~p 'hich is Liza Wilcox's account ~ttitledNEBRASKA '49 based on women s diaries, w rformance is a non-sentlherjourneyfrom Galla'nd, Iowa, to Oregon in 1849' e:~f the physical journey asThd rtr al of the ar dmental, factual, unromanticize po ay our. Childwellas the psychological aspects. C lttee for the PreventIon of b tWe are also working with the Nebraska ~~;;;:N ENCOUNTER, a playa ouAbuse in the production of THE BABBYL ka for the next four years as a preventouching,which will be produced acrosS Nebras frIontoo 1 against forced sexua I abuse.. , theater with an opera fng I budget . Is 00- orWe are a 35~year-old profeSSional children s e access to current materia1983·1984 of $328 000 We would like to have mor alty rights to the best 01 these.109 written for children,.and theirfami·1· lesacqumngroygood and wehave alot of1com-It.k' onditions are mble 0 mu 1-materials is very difficult. Our wor mg CIt and develop an ense earmunitysupport but it is very expensive to oca e k' Omaha Nesbraska, on a yracialperformers, able to perform, teac handworm, ,-.:~u:n:d~b:a~Si:s~.ISTHMUS3417 DeweyOmaha,NE 68105Contact:EvaFelder (402) 341-1734StarGraham (402)453-6982Isthmusis a theatre by women for people,We explore, develop and produce performancepieceson issues which affect a!1 ofhumanity from a woman's perspective.a non-threateningIsthmus uses theatre .as tion to stimulatef commumcah' hmeans 0 k action on issues w ICthought and p~ov~ I~e The theatre providesaffect our qu~htYfor w~men to develop andan opport.unJ: y 0 erforming arts. We connurtureskIlls m the P . ars on topics rangkhops an d semm 1duct wor s I body movement orfr for examp e, 1 tering om, h b' 'de poisoning 0 our wathe stage to er ICItable._ABIGAIL LEAH4840 ErskineOmaha, NE 68104(402) 551-5385Member of Isthmus Women's Theatretroupe. Interested in all aspects ?f theatre.True passions: acting and smqmg: ,Ha,vestrong desire to learn new age everything m-eluding spiritual practices. Want to learn a~·ting for video. Want to develop my psychicpower.See also: Isthmus Women'sTheatre.~!ROBIN GAIL LEWY219 N. 49th Street ~Omaha, NE 68132(402) 551-2391 (home)(402) 554·2406 (work/school)I am interested in combining t~eater. Wi~hempowermen t and problem-solving skills Inorder to focus on: f di I and1) Creating an exchange 0 ra rca h Iethnic issues in the community so as to e presolve racial tensions. r tc2) Dealing with the problems 0 speer Iities (racial ethnic, unions ... ) as ancomrnurun ,organizer and resource pe.rson. d blem3) Facilitating Interaction an .pr° bad. t a community- sesolving as an aruma eur, 'f toI ' theater to enable a commum Ypeop ~ s b.' ctify and understand localOrg~~lZe,t~ e~~~wer themselves for changepro ems d' for interaction.using theater as akme ~~:njmateur/culturalAs well as war as . .k Iam interested in contlOULngtheater wor er, k ith otherserformancewor WImy: that celebrates the struggles 0: opwora les and in clear support 0 empressedpe p I Id like to continue myering them wou . dpow.work with the e'IderIy,the..hearing impalred ' . nt commumtles.an Imm~raI am working individually, butPresen Yd. th possibilities ofm definitely intereste 10 e sa . communally or with a partner, aworkmg.. self with political groups.well as ahgnm~ m~n relocating in the nextI am l~ahna7;7; hopes of working in a majoryear an . h ) or in Montana,city {Chicago IS my orne,W 'ng or the Northwest.yom! t' of cultural work I am par-In prepara Ion PI's Theater Em-.. theMA eopeticipatmg In .·.t f Nebraska-Omaha.phasis at the UOlversl y.o development andIf using on socia l ,socialam ocorgamzmg.,as'1Ipertains to People sTheater.See also: People's Theater at UNO.Cultural Correspondence 105 59

MIDWEST~19CARAVANDAKOTA THEATREPO Box 927Sioux Falls, SO 57101(605) 336-7418 or 336-7414Contact: Jeanne-Marie ZeekThe Dakota Theatre Caravan was formedIn 1977 as an artists' collective dedicated tothe rural and towns' people of the GreatPlains region. The Caravan creates its originalscripts from historical materials and personalinterviews dealing with life on theGreat Plains, from the Homesteading era ofthe 1870's to small town life in the 1980's.Politically, the Caravan is dededicated tohumanist and feminist philosophies. It issupportive of alternative lifestyles, and itswork promotes respect for both young peopleand the elderly, portraying rural Americansas intelligent, concerned human beingswho cannol avoid the realistic problems ofthe larger SOCiety, such as racism and sexism.In 1983, the Caravan established a permanentbase in Sioux Falls, Where itplans tobecome involved in community arts andartS-in-education. It is interested in exchangingscripts, talent and personnel withother people's theatre companies, and hiresnon-company actors for most productions.DOUGLAS L. PATERSONFounder_The Dakota Theatre Caravan2502 N. 51st AvenueOmaha, NE 68104(402) 556-9247Dakota Theatre CaravanMy original work in activist CUlturewas the formation of and continued participationin the Dakota Theatre Caravan. My functions included: actor, playwright, musician,grant writer. I am currently teaching theatre in the Department of Dramatic Artsat the University of NebraSka at Omaha, in Omaha, Nebraska. In addition to teachingconventional theatre courses,l have instituted the nation's first Masters level study inthis Peoples' excitlnq Theatre. emphasis. We are always seeking . new and motivated graduate students forI would like to find discussions, panels, sympOsiums, and any other formal or informalengagement Where the SUbjectsof people's theatre, people's culture and politics,or cultural democracy are on the agenda. I am partiCUlarly interested in being aresource person forsuch agendas and willmake all Possible efforts to participate. I amalso interested in consulting Withany person or organization lOoking to form a theatrefocused On the needs of a particular audience, especially rural audiences.My work has mainly been Withthe rural POpulations of South Dakota, although recentlythe university employment brings me in daily Contact with undergraduates andcity. graduate stUdents of a commuter, community university and people in a great plainsJIM JORDANChair, Visual Arts Departm~ntSouth Dakota State UniversityBrookings, SO 57007(605) 688-4103Jim Jordan is a critica .. Itheorist , en tivismitiIC,and forartist. His workhas. I ded: acme u . ts radical so'SOcial involvement of art(~rtls. i~troduetioncial issues; neo-Marxistwntmg, dern danceof performance art and ~ost-mOroject grantto South Dakota; directing ~~ntemporaryf A t· Public Places-SIX .t.05.or rink t Communi I ,Sculptors in South Da 0 a . t on publicand a community dialogue projecart.MIDWESTVIDEOPO Box 11310Om;"a, NE 681111402)551-3143Contact:John Turner[liTOM MOTKO219 N. 49th SI.The Caravan was formed by seeking actors/mUSicians who wanted to go to a particularaudience, in this case rural South Dakota, and build workable alliances with(402) 551-2397Omaha, NE 68132those people. Specifically,l sought those who were Willingto talk and live closely withthose people as a way of diSCoveringtheir stories and then to create those stories intoFrom the centra I W·II I am ette Valley, . Currentgon,PeoPJe'sRepu~lico~~~~:~~,~. Omaha,Oreplay~about and for those ~me people. Stating clearly the objectives of the projectwas tnvaluable for assembling a productive, compatible Collective.Iy studying People si .ght ensemble. I am not lOOkingfor a group or a partner, but the Peoples' Theatre emphasis is look-Nebraska. An actor, p ay~ '.th radicalMilwaukee's Friends M'me Ifield.Ing for BA students who Want to do Specialized study and practice in this emergingd . orkmg Wlfacilitator. Intereste In W rything fromTheater in performance.cultural workers in th~atre-~~:J space. AlsoI ,,:ork Withnearly any progreSSive political organizations orstruggles. I am particularlytnterested tn expanding the base of the Alliance for Cultural Democracy.moderately skilled in techOiCartJ~ae;t Unitedstreet theatre to plays In th~a fis Most in-_______________tereste d· kintheNow-~~~~~~~~~~~~~~::::=::::-----~States, Ecotoplan In w~r rea I m,but willing to mOve.J06 Cultural CorreSpOndenceCultural Corres;9NE.§; Z-* ,d major marches,Objectlve~:to re~~\ eeches throughdemonstrations, a I ~ bhsh a video netvideotapingand to he p es awork.JEFFPATTERSON /HAKIKAAFSADP.o. Box 1101 DTSOmaha NE 68101(402)455-4614Artist,designer, cultura I an d communityactivist.m!I!PEOPLE'STHEATREAT UNO ~Departmentof Dramatic ArtsUniversityof Nebraska atOnebaOmaha,NE 68182-0154Contact:Doug PatersonTheDepartment of Drama tiic Arts 's atThea-has institutedan emphasis in People sUNOeaWI.ART POSITIVE./0 Survive . I Graphics~53 Williamson StreetMadison, WI 53703(608) 251-2440Ire at the graduate, MAlevel. T~:~~?~::is comprisedof 1/3 study In traditio d 1/ intrecourses 1/ in people's theatre. an 3Ia fieldchosen " outside theatre (social work, khistory,political science, etc.) wh! ICh com-inpI· Iments the student 'k s w?r. Courses Pea le'speople'stheatre include: History of PI'sTheatreto 1960· Contemporary Peop eTheatre' Contemporary , Thea treTheoryandAesthetics; ' and Peop I e' 5 Theatre Prac-ith aticum.ln addition, it is likely students W\woproduction-orientation will take up tal . g. Independent Advanced Projec . tsinvo vmactualpeople's theatre practice.ART POSITIVE. Madison basedIS a lters and musigroupof visual ~:~~~e~~'uring De~em~e;cians who cam.e. to the growing t rea a1981 in oppoSltl?n We felt that our parnucleardestrucfl~n:nterests could add r"ticular skills a~ d l . ension to the an I-f Ipower UPoetic nt imDuring 1, 982 we pro-tinuclearmovem~ ~te slide-tape show enduced a thirty rnmMIDWEST. . cohesive ann-nucleartied Nuclear V,SIon. A bmlsslons of artbedon su .statement as . nd poetry from canworks, tapes of mUSIC,aut the U.S. j Nuclearearned artists throuJ~~r a small fee ($15. In-Vision can be rent~ in plus $50 deposit,eludes one way shipp g~celved by us) andreturned after shoh w IS~h us at the addresscan be obtained t rth. last year we also dldlisted above. Durlngt ~ allery and producanInstallation at ~ 'Ofa ~ demonstrallons.ed banners, etc. o~ O~art seen the nuclearWe have, from t e s other issues such asd threat as connecte to my etc. and forse. the econo ,imperialism, t In those areas.some involvemen

MIDWESTNANCY BUCHANANArt DepartmentUniversity of Wisconsin-Madison6241 Humanities Building455 N. Park StreetMadison, WI 53706(608) 262-1660I have worked Over the years with severalgroups, often feminist art groups. I was involvedwith Grandview Gallery, one of thefounding groups which helped create the1st Women's Building in Los Angeles; Iserved on the Board of Directors at LA.C.E.Gallery & initiated a few shows which Weredirectly political in content; organized "50- .cial Works" at the LA. Institute of Contemporar~Art in 1979; and am always ready toparticipate or help organize collective eventsaround political issues of the moment. I amworking alone now partially because I amoverwhelmed with work & partially becausef am now in the wilds of Wisconsin. Butwould like contact with different groups; 1al~ays try to send $$ or art to support what Ibeheve In, My Own work has included videoand performance concerned with nuclearwar, commercialism (the Nestle Boycott in197 9 ),but largely the way Our view are can.dltlone~ by the dominant media. (Oh-alsotwo major works, 1 video, 1 performancewere ab.out t~e, ~entral Intelligence Agency-theiractivIties & OUr fantasies/fearsabout these elusive image-men,)ANDREW EWEN1225 Rutledge StreetMadison, WI 53703(608) 256-0481Out of ink, gouache and watercolor (withthe help of an airbrush) Imake small painteddraWings-modern parables which emboda ~ort.of Kafka.Acid-Gumby Connection l~thIS VISual Mondo Andrando the I .' Ih' h hi' . ogle 0Ig ee s clIcking on flagstones and thememory of maonmilk hold sway,.' have done illustrations for Radical Am-~nc~and other Publications including Mad-ISOns SPEK, a neo-outside magaZine of artand poetry'- The paintings Usually lind them_selves In Art World" type situations, tran.scendanc~ is longed far ... like maybe Saturdaymornmgs on TV.1 have worked with numerous politicalgrOU~s, most recently Art Positiue, a groupof artists, musicians and writers respondingto the threat of nuclear war and other issues.108 Cultural CorresPOndenceSurvival Graphics is a collective silkscreenand photography studio run by its memberartists. We operate a graphics business outof the shop but Our main focus is on indiVidualand Collective art ma.!

November 12th Anti-InterventionDemonstration:A description of the making of a work of artBy Charles FrederickSlogansThe public intention of the work taken onby the AD/HOC/ARTISTS in theNovember 12 demonstration was conventionallypolitical: to join with other groupsand forces of a coalition 10 stage a militantprotest in Washington against the policies ofthe Reagan Administration and in support ofthe beseiged peoples in Central America andthe Caribbean. likewise, it is possible to viewthe esthetic intention of AD/HOC/ AR-TISTS as conventionally artistic: to find newways, (orms, and spaces for creating (new)art.However. in the pivotal intersection ofthese intentions, where cultural workers andtraditional political organizers were usingtheir skills and talents to help shape and composethe event itself, a theoretical threshold inart-making was crossed. This result is oneradical solution to the problematic of art andpolitics. Our slogan articulates this new comprehensionof a possible art work: a politicalprotest is a cultural demonstration. Or,among artists: demonstrations are a medium.110 Cultural CorrespondenceI Am an Artist: My Subject is an ObjectThroughout this essay, J shall be using twowords interchangeably, if uneasily: artist andcultural worker. Both can be used to describethe same person in the same occupation inthe present era.But one. artist, shows the tug(drag) towards the past, and the other,cultural worker, shows the tug (hopefully, attraction)towards the future. The title, artist,describes a certain PriVileged status in Oursociety, but at the price of social immatUrity,where a person is most often relegated(apotheosized) to the pure realm of irrationalism,irresponsibility and unconsciousness.The title "cultural worker" expressesjudgment against the contemporarysuperstitions surrounding the social OCcupationof making art. While deSCribing exactlythe OCcupation of an "artist," it names an artistas a worker, stating that there is ademocracy among all functions and occupationsof a society, that there can be no hierarchyin things human. The work ofAD/HOC/ ARTfSTS was the work ofcultural workers.In recent tradition, when artists havewished to use their talents in political work,they most often have been expected to makeimages, write poems, that merely emblazonthe surface of the event. This is not to say t.hatthe Production of images and texts ISno , t Irn-.portent. But there is a contradiction of .p~n-Iciples when cultural production . In , p oltlccahactivity is reduced to this function. It was t egeneral political position of AD/HOC/AR~TISTS that as long as cultural produetlOdoes not penetrate the interior process of apolitical event if it remains only a seconda~actiVity of pr~greSSive activism (acc[dent~rather than essential), then it has not escapethe category of decoration.Reality Subverts the Idea: This isthe Argument for PracticeAD/HOC/ ARTISTS was formed laslsummer (1983). When CfSPES (CommitteeIn Solidarily with the People of EI Salvador)had begun the work of persuading activIstgroups in various constituencies~reJigiouS,labor, anti-war, anti-nuke, progressive studentgroups, other solidarity groups, progressiveorganizations_to form a coalitionfor an anti-intervention demonstration in theFall, they contacted a number of activist ar-. . N York Clearly, the success of thelstsln ew . t f June 12 (1982) waseu~uhra.l cO~lndPson;~e ~rtists who came to theon mar m . neem were asked to suggest some ope -~rm i;volvement in the organizinJ feffortiThe were from various media an o~magroupmg Y. s -, visual performance, fr liter-ary-and were, for the most ~art, om progressiveculturalorganizatlons: PAD~,PAND Dancers for Disarmament, and t eAlJianc~ for Cultural Democracy. The artistsmade it very clear from the beginning: ~ewere to be politicalorganizers in the ongo~ngeffort not decorators. From the first meetmgwe began a discussion (with the other organizers)of the form of the demonstration. dThe demonstration would then be reaand understoodthrough the development of~ parts.Tlie politics would be the te:\th~performancewould be the score, At t e narally, the emphasis again would be :culture, and the concrete metaphor would ,the participatory creation of the People sMonument-a giant sculpture/armature forthe entirecommunity's visual expressions.Thisscore was in the main, adopted,There was a committee for each site todevelopa program; there was a programcommitteeresponsible for the final rally.AD/HOC/ARTISTS maintained membershipon the program committee and organizedtocompletethe specific art projects.Artin the Modern Era Is Consciousof theHistoryof FormsTheformulations of AD/HOC/ARTISTSwerenot accidents, but attempts to developfurtherthe formal accomplishments of theculturalwork of political demonstrations ofthepast several years, particularly June 12,theWomen's Pentagon Action, the Senecademonstrations and the extraordinarycrea~vjtyassocia~ed with the disarmamentmovements in Europe, particularly theGreenhamCommon activities. Additionally,SOmeof the artists in the group were veryfamiliarwith the manifestation forms of theLa~nAmerican progressive movements.ThereWasthe influence of PADD's ongo-. Ing diScussions . of demo art, an d 0 fthePolitical/culturalphilosophy of the Alliancefor CUltural Democracy, as it is curre~tlydevelOPing,which insists on the equahty,authentiCityand necessity of equal oppor-!unityof . expression , of the cultures 0f a II p eopies.Unlike June 12, AD/HOC/ARTISTSdeveloped November 12 from an artrculate~theorettce . Iawareness, from our training h. h anex ertence as cultural workers, W IC ,wep bl to brtng into the political plannmgwere a e W were workandorganizing of the eve~, an~ our politicaling with great heterogene~ the democraticprinciple was that only In ld ttpolitical culture of the demonstra:o~'~i~~S i~be possible for there to be no co~ sO ~utreachthe differences among the gro. p. nt andand networking were also very Import~form the base of our continuing practice,The Proof Is In (the Eating of) the PuddingI took on were: 1) aThe projects peop ~ erfortned at one ofparticipatory dance ~Oth Pughout the march,the rallying sites an . hin a November 122) preparing and publish! g ne 3) thebe d by everyo ,songsheet to ~~ People's Monubuildingof a partlclp~tory nd 4) a visual andment at the final rally Site, ~audio documentati~n prJ:~~ the weaknessThe songsheet su ere I organizing effortliti '5 generaof the Coa I on hich was a greatand was distributed poorly, won the sheet in-. t The songs ddisappomtmen . rotest songs, 01 ereluded contemporacr;. 1ksongs, and parodyProgressive labor an h O demonstrations. AI dat ot er .songs deve ope fr Latin Amenca-agood number were ,~msolidarity.signal way of expr~ssl gas a great success,The dance project W s.lmple easilyThe choreographwasY . a gularrhythm'bY. f m given re d tlearned, Latin or, All who wtshe a, drummers. 'aaccompanymg ht the dance, givenparticipate were taug I th and joined thelarge piece of red co din New York. Thedancers who had prepareiticiswas only that cultural workers willIf a Politicalprotest is a cultural demonstrda~ on, the experience of the event ISone . can.. I-Ition0f people's future interest . In suc h pohticaactiVism. One reason for attending demonstratiOnscan be to share po I·t· I IC al culture. ,. IThus the cultural planning of pohhcfademonstrations assists the deveI0 pment 0 at~ ::i~nera, I progressive po I·· Ihca. I movemen e U S. Irnongthe plurality of cultures r. of ';'If- e and protest. A twa n th o_dlmenslona!he sense of self-worth, the assertion hange t d with signs nf hop I d decoration.realitycan be performed symbolically, I d Klrkpatrlc e d 111identity,the belief in our~P10~w~e~r~~tOr~C~a~s~a~~T:h:e:p~e~o:p:l:e':S:M:o~n:o~m~,,:~~nt~~dg::::;:~::~:~g:a:ln:s:t~c:o:m:m::o:n=;s~t_In_s~p_r_eILJitoin'ehea;sala Specificallyfor historyg~theredby a masssupportofsyspet°r:.,ee .arme Cultuml Co""pon ence__ --;;::::~::::=-:~"75159

possibilities of participatory politics (culture)cannot be expected to be advanced beyondthe level of progressive politics generally inthis country. As artists working directly in apolitical eventwe had to learn-and apprarj.,ate-this political reality. We willhave to continueto struggle about the form and activity ofdemonstrations until, in the future, the performanceof political participation becomesthe performance of political leadership.Art begins in what is most urgent inpeople's lives. AD/HOC/ARTISTS edvanc-ed the cause of the democratic participationin culture on a noational level with theNovember 12 Coalition. But the cause ofcultural democracy cannot advance throughoutthe culture ifat the same time artists havenot made the necessary continuing alliancesto understand better the other two componentsof progressive social change: economicdemocracy and political democracy. Wemust learn true respect for~by workingwith -all other talents that make up a society.There is no greater collective effort, nogreater participatory performance, no moresignificant art work than the project offreedom.Chorles Frederick worked with AD/HOC/ARTISTS from its beginnings. He is a poet,playwright, critic, and a COntributinged/toro!Theaterwork. This article will appear Jul/.length there. This is a very condensed ser.sian based on the article as it appears in UP.FRONT, Winter '83-'84, edited with theauthor's permission and suggestions,NOVEMBER 14, 1983By Charles Fredericka poem dedicated to theWomen of Greenham CommonDid you feel the chilllast night,when they unloaded the missileson England's Greenham Com mom?Did you feel the chill?Myself, I was at homein New York,stirring a cup of tea,Iwas setting in motiona hypnotic, clockwise swirl,when suddenly, it went counter.A woman, at home with two childrenat Chalatenango, Salvador,felt a cold wind, like shehad never felt before in the tropics.She fell it penetratethe thatch of her roof,and it rustled the leavesso they sounded like the complaintsof discontented ancestors.She held her children closerwhen they whimpered.On 137th Street in Harlem New Yorka domestic quarrel betwee~ a beautiful'young black man and a beautiful youngblack woman, a lovers' argument,stopped, and they held each otherin urgent embrace against the cold.The cruel mask of the murderer Marcosseized up in a grimace forever,and no one cared that he was afraid ofdeath, afraid of damnation.The priest in the chapel in Rome quailedwhen the Eucharist would not consecrate.The woman in labor in Bombayfelt her contractions stop, herbaby would not be born.Near Santa Fe, New Mexico, USA,the Tfwa shaman looked upand saw the sky fullwith the monster's smile.The shaman cowered before the sightof the end of all things.In Buenas Aires, a blind beggar on thestreetsensed the wind as a frightening brightness,but then, in anguish at such a sight,he once again went blindbut this time, it was his choice not to see.And the puma, in the midst of his leapbroke his elegant are, suddenly careles~about the fate of his prey, as his mindclouded with dread and he lost hispurpose.And, in a thousand senseless, expensiveplaces,in Paris, London, Milan, and New York,the sauces clotted on their plates, andthey gagged in their throats, and theirbrilliant fashions could not keep themwarm.The skin on the lean cheeksof black miners in South Africawas pulled back even tighterIeavinq, finally, onlyskulls amidst the gold.And the bull elephant on the savannah,lifted his trunk to trumpet,but in such a wind,what sound could he make?-and the wall itself wailed in Israel,as the wind made hollow the Covenant-My lamp flickered.Istood up and looked around my room.Iturned away from the piles of paper-my poemsandJ could no longer think with pleasureabout my books.-even love had suddenly taken a newemotional dimension-An old WOman wrapped in shawlsin Moscow, remarked to her companionwhile she crossed herself, that such 'an iII- o mened wind had never been feltbut Once before,thai afternoon on the hill of Calvary,when Christ, in despair, gave up his ghost.And when this chill wind, in Bansheemadness,shrieked over Lebanon,Christianfor a momentfrozenDruse andfound that their fingers hadand they could not fire their USA andUSSR guns.112 Cultural CorrespondenceThe great herds of reindeer on the Laplandwaste~ere struck with panic into disarray,like an atom, splintered.bu! their herders never noticed, watchingInsteadthis apocalyPtic Wind rearrangeAnd an old Persian, in Iran, knewthat this timethe stars did not fortell redemption.In Vietnam the people understoodthat their long struggle for freedomfrom the Westmight have been useless.the stars.Igot out my thickest coat,wrapped myself with a scarf,put on a hat, and walked out into thestreet.I would never be able to return homeuntil that wind was reversed,until all the peoples of the earthhad found the way to make the worldwarm again.The time, irrevocable, had cometo make a stand against apocalypse.Did you not feel the chilllast night,when they unloaded the missileson England's Greenham Common,did you not feel the chill?2Nuclear Arsenal1.Project, BarbaraDonachYiPhoto byDenver. Co. 2. FromRhoda pollac~ .•~.. touringBetty La Du e . Ashland.Nicaragua.shOWonnd figure,3 Slogan aOr. .., '. for LastingCitizen's Action NorthwestSecun.-'y frorn. Eugene.0r.Working Press,Northwest:- the ocean. _.HighwayCliffsthat fall right IOta d settled and new at. d red woo s. . . learnOne - . -Ram anp covering va camcthe same time. . A cool snowcaenergy.Cultural Correspondence 113

NORTHWESTMETROPOLITANDENVER ARTSALLIANCE1331 Eighteenth St.Denver, CO 80202(303) 296-9888contact: Barbara YostExec. Dlr.',..,....,~I.. ,..'~,~-The Metropolitan Denver Arts Alliance~erves as the community arts Council for thefive-county metropolitan Denver area TheArts Alliance Was formed in 1979 .:t dl 1 • mcoj-,para e In 980 and received its tax-exemptstatus in 1982. Of the mare than 350members, 50 are arts organizations_largeand small.The Arts Alliance enhances the quality flife by encouraging artists and arts organi~.tions to work in the area. Toward this e dthe Arts Alliance provides services th t~ :crease the visibility and business skills o~aJ~_Ists and org~nizations, as well as their accessto the services and information necessary(or survival. Our monthly bulletin Artbeo t· . f I Qt,e ~ ~tns In ormation on events, oPPortunities,and pertinent legislation.NUCLEAR ARSENALPROJECT2216 Race 51.Denver, CO 80205Contact: Barbara DonachyThe NUclear Arsenal PrOject, originated bBarbara Donachy a d y. h n now CO-organizedWIt Andy Bardwell, Carol Hoffman RodLang, and Kenneth Miller as well as ~m ~volunteers, is an art show/organizing ~OOI~round the Issue of disarmament. The ro.)ect. reconstructs in ceramic (minature) ~heentire US nuclear arsenal-30 000heads, 316 B-52 bombers, 60 Fa-lItn::c1Q" bombers, 2 Trident submarines, 31 Poseidonsubmarines 550 M' t. I 'IOU eman IIImisses, 450 Minuteman II missles, S76 submanne-launchedballistic missiles, 1500114 CulturalCorrespondence:' I: _.J' , ; .Part of the Nuclear Arsenal Project installations~o~t-range attack missiles, 60 Cruisemissiles, and 6,000 nuclear bombs.This h.orrific display is intended to givepeople, hterally, a picture of how far thingshave g~ne; A video-documentary will chartthe project s progress and give informationa~ut U.S. and Soviet arsenals. The work is~lng executed and assembled in Denver andWIllbe shown there by summer 1984, when itwtll be dramatically lit "to create an illusion ofvast space," rich with "humorous overtonesand satire." Then it will be ready to travelSpace requirements are 3500 square feetplus wall display space, 900-1200 feet (forproject records, timelines cartoons anecdo~alstatistics, phot?docu~entation,' etc.]eople can become involved in theNU~lear Arsenal Project by writing for Infer-:ati~n or. membership forms and by netforki~g W1t~other organizations, including ati° rm In their newsletter, or sending suggesons.MONTANA PUBLICART GROUP117 S. 9th Streetlivingston, MT S904 7(406) 222-3658Contact: Niki GlenWe do c~mmunity involvement murals inmany media, paint cast conc tramie fnd"d I '. re e, and cesculpt~reslV~n~a a~lstsl also do watercolors,like t d' sc 00 murals. We wouldo 0 mOre murals'n II .cities, small rural I a. r:glons, largewould like to do commUnities, etc. Weand mosaics W monumental sculpturesthemes of Social c~ would like to addressand do art k ncern, progressive ideasplace. war s to make the world a bette;We work with childre hing people, different n j t ~ elderly, workgrOUpsand Worn m norlty and ethnicW en e are lOoking f.horate with On o~ ot er artists to collabprojects.mura s and other public artco. MI. OR.We would like to work with politicalissuessuch as the environment, the nuclear nightmare,women's rights, racism, classism,andall the other evils of the world.We would particularly like to address localissues of social concern such as bringingback passenger rail transportation, or end.ing pollution.Our hopes involve finding new and creativeways of raising money for public artworks. There is an interest and desire formurals in the, people, but we find raisingmoney to be harder than it was in the lastdecade.We would like to have other artists fromother areas of the U.S. and the world workwith us in Montana to address some oftheseissues in murals and sculptures.IINIKIGLENNikl Glen is a muralist. See: MontanaPublic Arts Group.BETTY LA DUKE •610 Long WayAshland, OR 97520Betty La Duke is a visual artist, photoqrapher,and teacher of art at Southern OregonUniversity in Ashland. She has traveledextensively, exploring other cultures andcarefully documenting her experiences in aformat that can be shared with others. Shehas organized a traveling educational n?n~profit exhibit on the theme: Latin Amenca.Women as Artists and Artisans. She has twoslide/lecture presentations that relate to theexhibit: L Latin America: Women, Art, andSocial Change; 2. Nicaragua, Art and Revo,lutionary Transition. This exhibit has ~enshown through colleges in Oregon, Washmtton, California, Texas, Oklahoma, and Coorado. .She is currently preparing another exhibJI,which should be ready for travel by Janua:of 1984: Nicaragua, A Sketchbook Journ hThe exhibit is the result of four researcjourneys to Nicaragua in 1981-83; itwillconsistof approximately 65 drawings, d.ry·mounted (12 x 15), with accompanymgdeSCriptive or educational information. It ISavailable for rent by mail at $50.00 permonth."When the women posed for me, J pho~o·graphed them with examples.oftheircreao~work. Too often, the focus has .been:e,women as mothers wihout explonng 0 daspects of women's lives. J wanted to reco.~the proud relationship that women have WItheir work. "-Betty La Duk~The Blatant Image, 198INORTHWESTWORKINGPRESSgOREGON~;ilII1002W. 2nd Street, #4 ~ ~Eugene,OR 97402(503) 485-1663Contact:Gail Elber and HerbEverettNorthwestWorking Press is a worker confrolledcommunityoffset print shop. In addifiontocomrnercial job printing, we do muchworkforthe alternative political community.Weoffera discount to non-profit orqanizatons,and collective members frequentlydonateour labor on political printing. MostofOurdonated work concerns disarmamentandanti-nuclear work, anti-imperialist andanti-racistissues, the women's movement,lesbianand gay rights, workers' organizingeffotrs,the rights of Native Americans, andworkto protect the environment. While weare notformally affiliated with any other organization,wesee ourselves as an importantresourcefor all kinds of people working ontheseissues in our community.Wewere formed in 1977 and are current-~ a collectiveof 2 Women and 2 men: Weworkto show that worker control' and feminismareviable ideas in the workplace. Wehopethat our printing will have an impactOnsocial changewhole.in our community as a. NorthwestWorking Press also publishes a~neofPoliticalposters and cards with peaceandanti-nuclear themes. These are wholesaledto bookstores and fund-r atsinqEarthlyreverence:.Everv living thing'is O(J r relation'groups, and retailed to the public. Send forour catalog.BRIDGETBEATTIEMcCARTHY7277 Southwest Barnes RoadPortland, OR 97225(503) 292-4549Bridget Beattie McCarthy is a "crafts activist"and consultant for architectural craftswith 14 years professional experience in artsmanagement, 6 years in anthropology andsocial work. She is skilled in runnmg ~ve~ts,grantwriting, selling concepts, coo~dmatmgbuilding projects, and working with craftspeople,architects, designers, .contractors,and volunteers. As Executive Dlrect~r of theOregon School of Arts and Crafts to Port-I d she built the school from a littlekan:";n 400 student, $137,000-a-year artsand crafts society to the fifth largest artsorganization in the state, with a $580,000budget, 600 students, and a new, mortgage-free$1,700,000 campus.McCarthy has also owned and operated aproduction pottery business, taught. worked with ethno-ceramlcs,ceramics, f . h thecoordinated local craftspeople to urrus k dTimberline Lodge at Mt. Hood, wor e.ith the Oregon Department of EconomIC~evelopment to market h~ndcra~s ~Sja w~~of alleviating e,::onomlC har s p. ,~:~~:%~~~~~~gs~~~~~e~~~e~~~~:r~~~NORTHWESTin Oregon than any single person.""People feel that they cannot have an impactindividually," says McCarthy. "I guesswhat' like about my projects is that they say,'you, too, can have an impact' ... the biggestthing I'm interested in now isregionalism. "ACTION ARTSFOUNDATION2345 NW. Marshall #205Portland, Oregon 97210(503) 228-9157Contact: Cyndi Turtledove,Artistic DirectorACTION ARTS FOUNDATION is a nonprofit,professional performing arts companycreated to use music, dance, and theatre performances,workshops and classes, to tacklecommunity concerns. Action Arts al.50usesthe visual arts in its projects and beheves. inthe integration of all art forms to deal withcommunity problems.Action Arts was founded in 1982 by its ArtisticDirector, CYNDI TURTLEDOVE,M.F.A., formerly Artistic Director to SynthaxisTheatre Company in Los Anqeles for 8Action Arts' goals are to: provide the~~~rs~unity with productions and workshopsdealing with education, unemploymen~. tton ecology menial heal!cnme prevention, ' desl dd h sical health; create projects estgne~nm~erthe needs of organizations and agen·a hich have similar concerns: urge theoes w , ti nnity toward cooperatIVe ac 0commu obi . I _h h the arts 10 help solve pr ems, nt roug d' bothitiate active participation of au lence~,. ductions and in developing their ownIn pro. t. be a support group and developarts proJec s, . ala network of communication between VISU _and performing artists and community organizations.1983-84 projectsdinclu e:"L'I Pad, y.La h " a fantasy musical aimed at children4 ~;C"The Genie in the Bottle," an alcohol-, f Hi h School age students:abuse play or , g P .ect "a television film"The Energy Act,on ro) .'. f Iddocumenting the weathenzation 0" an 0trepreviously oil-burning house;h:df Th: inTools in the Schools," a met or .uteac h· g a non-DramaIncurriculum In theschools.THE COMIC BLOCKc/o Pastime ProductionsPO Box 19818Portland, OR 97219The Comic Block is a monthly mail or~erh er with display ads and lists of comicsSf o:nt sale or trade. It is intended to beor , , d . dium foreasily affordable a vertislOg meanthe average collector-trade onup to thelarge dealer~distributor.=C ardhorn the Northwest Working " Press. Photo bypat~T:e:h~a:n~ ~-=-=-- ~ __

\NORTHWESTOR. WA. WASHINGTON NORTHWESTSOJOURNER TRUTH THEATREPERFORMING ARTS TROUPEr.o. Box 12183Portland, OR 97212(503) 289-9278 or 288-0867Sojourner Truth Theatre Performing Arts Troupe, founded on Apnl l l , 1981, is acommunity-based troupe performing out of Portland, Oregon. A contemporary andexperimental theatre, it features black classics as well as original mat,erial, and is supportedsolely by grants, donations, and stage performances. Its style IS taken from traditionalAfrikan theatre.As Alice Childress explains, "Afrtkan theatre played an important social and historicalrole. Men (and women) traveled from village to village telling stories, and kept thepeople infe-!med of events going on in other towns and far-away places ... each nationhad actors, dancers, and singers who were trained to perform messages from thepast. They taught their pantomimes, speeches, dances, and songs to others who alsopledged to keep them alive by passing knowledge and artistry on to the next generation."Adopting from this style, Sojourner Truth Threatre Performing Arts Troupe haspresented Over 75 performances throughout Oregon and the State of Washington.These performances have been presented in community theatres, coffeehouses, jobcorps centers, elementary and high schools, colleges and universities, nightclubs, prisons,and at various ethnic obervances.Under the direction of Founder/Director Nyewusi Askari, the Troupe trains youngpeople to become actors, as well as to learn the techniques of theatre itself. Many ofthese young performers come from the Portland school system, and receive offcampuscredits for their participation . Together, they perform as Sojourner TruthYouth Theater Performing Arts Troupe. Their performances are directed at youngaudiences and families.A smaller entourage has been drawn from Within the troupe: the Sojourner TruthPoets are three women performers who deal with women's issues, primarily from ablack perspective. They have drawn praise for performances at InternationalWomen's Day observances; Portland First Annual Black Women's Gathering, andhave made many appearances on local television stations.On September 29, 1983, Sojourner Truth Theatre Performing Arts Troupe presentedthe group's premiere performance of a play written by Nyewusi Askari. Theplay, entitled "Sketches," deals with the reunion of three sisters who have gatheredfor their mother's funeral, and discover family conflict, confrontations, as well as love.The play was critiqued by Kalamu Ya Salaam, poet, writer, critic, and editor-at-Iargeof The Black Collegian Magazine.The play "Sketches"OREGON ARTS COMMISSION835 Summer 51., NortheastSalem, Oregon 97301(503) 387-3625Contact: Donovan Michael Grayis available for booking in your town....,...",,,,..,"",Through the Community Services Programof the Oregon Arts Commission, I providecoordination for Artists-in-EducationPrograms, and assist community-basedorganizations and arts councils in furtheringcultural actiVity. I travel extensively, providingtechnical assistance, information referral,and explore new topics in the arts andcultural expression that can be of assistanceto local COmmunities, organizations, and indiViduals.My "community" is multiple. I consider theentire state one aspect of community. Thereis also the community of interest, which extendsbeyond Oregon's borders, encompass_ing like-minded people throughout the COuntry.I participated in the founding of NAP.NOC, now the Alliance for CulturalDemocracy, and served on its initial board of116 Cultural Correspondencedirectors. I was a member of the ExpansionArts Panel for three years at the NEA.Through these contacts, I have come toknow a Wide range of artists and amateursworking throughout the United States at thecommunity level.r am dOing the kind of work that I want tobe dOing, and feel fortunate to have the op-POrtunity to explore how a state arts councilcan assist and support local cultural expression.The Oregon Arts Commission embracesa philosophy of decentralization inprogram administration, prOviding avenuesto further local cultural determinism in theCommunity Services program area.Th:ough the Artists-in-Education Program,uOlque opportunities eXist for developingcommunity residencies for artists asamateurs. As with many arts funding andprogram sources, though, the OAC suffersfrom insufficient funding and eqUipment, butwe make the most of what we have and thefuture is promising for increased resources. Itis a wonderful agency to work for and with.The cast of Sketches,Theater.from Sojourner TruthSome of the areas of exploration currentlyunderway include the use of c~mp~:~resources for information networkmg, kintra and inter-state. I would like to m~econtact with other individuals and organ~-. . h· We are also lOtionsworkmg In t IS area. .terested in technology, such as cable t~let;sion, and what opportunities this presen 5 0local cultural activity.THE CRUSTACEANSc/o Media For A ChangingWorld932 Twelfth Ave.Seattle, WA 98122(206) 322-9010The Crustaceans are a musIc . al perform- . Fing troupe which defies categonza . tIon . orover six years they have " cra bbed" their p wa'} 'fieinto the hearts of thousands on the aCIIfNorthwest, earning recogm ·tt0n as onet. 0sthe top 50 "persona I·· Itles " 0f the Seven Ieby the Seottle Sun. d ITcally-Combining humorous an po II danpointed lyrics with a danceable beat:n earray of costumes and characters, t ey~eat home with audience of any a~e.Crustaceans write most 0 f their. ownfmaterial draWing on a WI ·d e vanety 0musicial,styles. Over the years,thetogroupjUsthas evolved from as many as 23 Whileunder 12 highly-spirited members. .they cover many socia. I' Issues In . their mUSIC, h .these days they are especla. II y SIn . k·ng I . t . eltclaws into the nuclear arms racethatbehevlO9through laughter, song and dance I~ecan find the energy to ma~e a s~fer ~~r EPTheir most recent project IS a II drecord directed to the President, ca e"Dear Ronnie."LOSTMUSIC NETWORKPOBox 2391Olympia, WA 9850712061352-9735 R hContact:John Foster or Dave a n I .nlormation andft national c1ean n .ghouse or Iths is theI0 _Lost Music Network is a nonPdJo ItMusic published every two monk '(LMN/. op· Indepen en , . Networideasabout music. . th Lost MuSIC k dontheprojectficial publication of rt1984 OP magazine is emba.r e to a differentOP I guess it's got to be lucky). Untt f m 'A to Z devoting each Iss u e s.,S 80 pages' h i d dent music ro , bli h din1 g 8,ofgoingthroug m epen. . 1979 and the Q issue, pu IS e h Q but plenty3 01 picletterofthe alphabet. A. ~as m( t o~ly of groups beginmng wl~t) The magazine alsoofarticles, letters, and hstmgs no bers around the wor .tures and other submissions from'n~:mendent recordings. . on women andcontains reviews and sources for 1 . ffy interested in more artic~e~ ns particularlyOP: Independent M~SIC,~s es~,e~~ff or preserving music~l tra .I.~Oabout isolatednon-whites who are doing ne.~ ~-Z We're also interested In ";;'b w~y one looks atthose whose last names start Wit "fh k one re-examm e t emusicalcultures an d " t hiInk Pieces t atma ethings (music related).See also Other DirectoriesOP:INDEPENDENTr.o. Box 2391Olympia, WA 985071206)352-9735 Dave RauhMUSIC12061866-7955 John Foster . Network u.e.. LMN:t rojectIL st MuSIC .. h·ng the0 0 d' ted to fmls IOp: Independent Music is the CU~~~A'? in 1979 and ~; ~~ l~~Salmost over. But,Op). Its bi-monthly format started a 's dedicated to U so tent and should bealphabet in 1984.TheJan. -Fe b .'84 issue tboth I in itslorm an d its condbefore itfades into Zz=, it is impo~a~ retails for $1.50). tI released records a~_obtained at any price (even thoug ~f 300-plus independe~ ~ows, names and ~ toIn each issue, there are reviews d t radiO stations an I tter section. Its ha.rtapes special sectlOns . I or 'ndepen I I enbl·cations an d a great e d but It .' IS. The Issuedresses ' of distributors, overview . so Op pu carries I can be fun tot rea on to, have 15 a r1' '~ les I on Iebelieve the amount 01 inlormabon fllorthispub.) and wen e history of the U u end"U" covered all the above (staple stu aican DJ to a conClS usiC' it gives space a"U" related topics from U-Brot n , I~~:;;ms 01 independenf~t~roje~t, it relie~ onn':e~:Op is an amazing resource o~ a a collective, non-prhOtes continue to e uV_Z'sIIconsideration to a genres. BeIng women an d n on-W d. IOp There are manydol) bytributions for its content. Becaus~ them documenteb I~eard (or at least hearrepresented in the media, welwan d who deserve to e t groups.out there who aren ' t Wh·le I rna es an kers and mov ementhe Op readership. . k' tool for all cu Itural worIt is an important networ 109The CrustaceansWE NEVER SLEEP1302 N. Wilson. WA 98506Olympla'T P terfil K. WandaContact . e ,Sleep (WNS) are art-We here at We Never ned WIthchang-I d udio) concer I dists (visua an a . lentl We are invc veing the world norwrc h d work mainly WithIn design and re~:r~n:;truslveIY dunng thethe busmess wor the OIghtwe feed ondaylite hours and dunn~ graphiCS which sushighpowered mUSICa~ k We formed as atam us thru til the .d~ydr~a all others chngmgnatural entity banis fe ypport We are notto our core group or ambers but would notlookIng for any other metota IIydismiss the IdeaIW· • NINE ONE ONE I911 EastwPIn~S~8122 ~Seattle, as.(206)324J:~~evedow,Contact. Idir.. a contemporary arts andNine One One IS 'd. g information,ter provr In cereso uce cen. .. and installation spamaterials, exhIbitIon, erformance series.andthly lecture and p. I 125 cur-men . proxImate yO lfbrary contams ap d 3 000 velurI b 'ptions an ,rent periodical su SC~ich areunavailableurnes-most of w. In the areas of. the regIon - d ewelsewhere In mance, film, vi eo, n Ivisual arts, perlo r and experimentamusiC photography, 'deo and tape library'w lsohaveavl . andwriting. e a rtists and viewmgf national and local a 'n to the publiCo . f ·lities. All are opeIistemng aCIfive days a week. ace was developed a~ aOur exhibition sp d·n thecommuOitydirect response to the nlee ~th emerging andforanaccessl. 'blespace or .thout comme rcialestablished ar~ts ;: show exhibits suchrepresentation .. e a Art 1960-82, shownas Russian Samizdat oming exhibition ofhere in May, an? an u:phics from Nlcarag . d performancegr~ur monthly le~dture ~~e of topics, insen'erscovers a WI e ra d Sexual Politics,eluding lectureson Art anrary Culture. thIn eArts Activism, ContemPOa bookandperfor-People's Repu~~c ~;h~~mance arts, e .present originalwcrks and perlormance~rces are publicizedOur events and re~y newsletter, 911through o~rhmf;tcontains an arts ealen·Reports, whlc a e an active resourcedar. In th'ISsense'.weSearttle trying to remainfor the community In a ,the needs of theflexible enough to chang~ a:xpand, and thecommunity ~hange han es and develops.community Itself c an~ain an arust runAfter 9 1 1z ye~rs we ~~f one full time direc·organization With a sta d. ator and studenttor, a partrecoorm,1m nd heaVily on voItrun eeassistance. We depehelp and resources.Cultural Corresp ondence117

CREATING LIFE OUT OF FIRE, MADNESSAND DEATH: Organizing CUlture in Nicaraguaby Susan R. McCarn and Victoria RueSince the reuolution, there has been areclamation of culture, a /lowering of thearts to such an extent that even many organ_ization otherwise unenthusiastic about theSandinisla Victory, like the New York nmeshave conceded admiration for the culturalgains in revolutionary Nicaragua .... Asone folk singer has observed, "Now there isa burst of energy and enthusiasm. There isSome good work and Some awful work, butthe point is that the people are no longerscored of cUlture."-David Craven and John Ryder,ARTOFTHE NEWN/CARAGUAWilhing hours of the triumph on July 19,1979, a Ministry of Culture was formedwith poet and priest Ernesto Cardenal ap~pointed to head it up. One of Our guides saidthis was because rescuing Nicaraguan culturewas a clearly significant need of thepeople. The Sandinista revolution attemptsto define its work accOrding to the prioritiesthat rise from the people and from thedemands they make.What fallows are brief deSCriptions ofseveral cultural organizations and projectsthat we witnessed in Nicaragua in December,1983. It is a small sampling and dominatedby theater work. because we were adelegation of North American theaterworkers. We do not even touch here the ex-118 CulluralCorrespondencetraordinary array of other cultural workt.hriving in the new Nicaragua-the publishedpoetry of the engineers, technicians,armed forces; the murals overtaking thewalls of Nicaragua like. SOme irrepressiblecelebration; the much talked about poetry~age of the Sunday paper-the many pro-Jects which bring together and organize professionalcultural workers, and which celebratea~d advance the creativity and artistryof all NIcaraguans in their daily lives,Below are deSCriptions of Sandinista revolutionaryprocess. Too often we confineour .understanding of revolution to imagesof violent Conflict, and forget that the work?f turning Over. of transforming, of bUilding,IS t,h e ~ork of the Sandinista Popular RevolutionIn Nicaragua. The only image of Violenceleft in that revolution is the odiousSIon.~ork of defending against constant inva-The Somoza dictatorship lasted nearlyhalf a century; 50,000 people were killed inthe last seven weeks of the fight to topplethat regime. There are now 21/2 million peoplein Nicaragua, of whom 50% are-underthe age of 15, and 75% are under the age of21, Nicaraguans have been Working 16 to20 hours a day keeping the economy goingrestructuring their SOCiety, and defendin~!heir new country. Of the 21/2 million peopleIn the Country, about a million are in themilitia. The concept of a controling governmentelite is absurd in this country where thevast majority are involved in the work of therevolution, where the government is thepeople. and where the people are arme~.The current war in Nicaragua is not an internalconflict, it consists of border invasionsfrom a ruthle~s and external enemy. Thereare between 7,000 and 10,000 contras,largely ex-Somoza National Guard members,The contras are being supported with moremoney from the U.S. than the total G.N.P.of the country they are trying to re-posseSS.Though they have wreaked further havocon that country's economy, devastatedborder towns, and killed about 1,000 people,contras are failing-in spite of our continuedfinancial endowments. They have nosignificant internal support, and their resistencehas not precipitated any popular turningaway from the Sandinistas. kThe revolution exists in the kind of wardescribed below and in a level of popularparticipatory de'mocracy we could neve~have imagined. Nicaragua is a coun.try Oforganizations facilitating the participation Ofevery individual in the careful creation 0their own new society, As Alejandro Bendanafrom the Foreign Ministry said to u~"Democracy is not going to the polls for 1minutes every four years. Democracy IS . theright to organize, and to participate, in yourOWn community."MINISTRY OF CULTUREMinisterio de CulturaManagua,NicaraguaTheMinistry of Culture was .foundedwon aherthe triumph in 1979. It 1S hea~dI>i father Ernesto Cardenal and DaISY k da bothpoets. The Ministry has wor e:~~ke culture a hands-on prop~s.itionavailableto alland a part of the participatoryprocessof the revolution. They havecreateda cultural and educational networkof 26 Centros Populares de CulturaWopularCulture Centers) throughout thecountrywhere free public instruction 1Savailable inmusic, dance and the visual arts.ff studentschoose to pursue some field offinearts further, they may go on to one ofthe four National schools of Art: Theater,MllSicDance and Visual Arts. These arepart ofthe Mi~istry too. and all instructionhereisalso free,TheMinistryhas sponsored and coordinatedmanyofthe public mural projects andnoncommercial billboards that add toNicaragua's visual vibrancy. These arekJcatedwhere they can be enjoyed by aswidesections of Nicaraguan society aspossible.The Ministry of Culture and the SandinistaAssociationof Cultural Workers arerescuingand advancing Nicaraguan culture.Thework of these organizations involvesaninteractive exploration and cultivationwiththe people of Nicaragua of th~manyopportunities for creativity in theIr~ves.The work facilitates more meaningful,acceSSible, and participatory art work, andi!ssupportsthe dignity of cultural work andculturalworkers in the community.{learn /rom Nicaraguanot to back away/rom problems in my society _ to put theminmy Work!I learn that culture is a fabriC thatweallweave-there is no marginalization inthe!, thereis no elitism in that. V R~---------------ASTcAssOCiaclonSandinista deTrabajadoresde la Cultura(ASTC)Casa Fernando Gordillo Parque £1 CarmenManagua,NicaraguaThe A5TC (Sandinista Association ofCUlturalWorkers), the union of indep,enden!artists in Nicaragua, is a professlo~altradeunion, It provides artists with mate~lalSUPPort,resOurces and promotion-mcJudingexhibitions,~erformances, festivals,development of theater companies. etc ..-and addresses issues of pay and workmgconditions for artists. fThere are seven different departments 0the union: Film and Photography, Da~ce,Theater, Music, Circus Arts, Vlsua.1 ~s,d W iting The ASTC offices InPoetry an nunc. II fManagua, located in a former bor~~.~o~Somoza's house classes, an ex I I fspace, and offices for each department 0the union.SubcommandanteS hez of the Minisanc,f e who we met in Managua, ISatry of De ens 'b f ASTC several mempoetand mem er 0, • members.bers of the Sandinista Junta are h the'zed t hOur tour was orgamrougk d withASTC Our schedules were pac e dabout· 14 hours of acivity eaclh Ai'rcrf rmances festive s.meetings, pe 0 d' omodations andplanned our travel an ace d guides.d ith translators ansupplie us WI to follow culturalWhen we left Managu~ausin the hands of abrtgades and ASTC X ide and organizer,bus driver, Rene, an agu tence commit-Salvador, whose cO;~~re a d~fining element,and great w~rm f rural Nicaragua,ment in our expen,en~edo the festivals, cir-ASTC projects I~C ~ : describedcus, and cultural bnga ebelow.MECATE .MovimientoCampesinade. E~pres~~;tralArtlstica yApartado P-50Managua, Nicaragua. nor task, which isco/-Ourg reot revolutlo y k 010 campesino't' the war Ilectrve becau~e / IS before our peop eshowmovement, IS to s repressed washow a culture tho. wa . and creativity,·th 'magma t Ion {awakened WI ,I. ns show the value 0 ourrecover our tradItIO 'I through song,ourse ves h.right to express and theater. For t ./spoetry painting, crafts, . and give agam, b ' receIVe,we want to ring,. from culture an armwhat is ours. Makmg com mitment toh·ch strengthens our alues and ourWI. h defines our vstruggle, w1h~aking the Revoluti{O~~CATEown way 0 _NidiaBustos,o ni-. tionforcommuM£CATE, the orgamzafarmworkers, wasty cultural work amongstarted on April 12, 1980 with about 10Now there are some 90 groupsgro~~sg. with the movement. MECATEWOrKIn . . t dsupports the work of campesmo artis s anfacilitates communication between them. ltaso I heps I local artists and facilitatesI hicom-munication between them, It a so e psal artists with seminars and worksho?s.locd es them to share their learnmgan encourag d nh theand skills with one another an WIcommunity. . . 0. f MECATE is doneThe orqamzmg wonc 0 h.tore (like an animateur)-t ISby a promo mber of one of the 90 groupsmay be a me it or someworkingin their own communi Y, .ty andhoes to another communione w 0 g, r anizing form there.helps to bring the a gh Ip begin the workAI h h Promotores e . ,t ougt of the orgamzmgfor a cultural event, mas '11 be done byk d the performance WIwor an '. d about their own llves.the community an f METCATE:Nidia Bustos says 0which Is organized InOur movement, trnents 0/ the country,almost all0/ the de~a~ I biectiues to showfitsprmclpeoJ • ,has as one 0 t. Io{ the countrysrde sI d paten lathe va ue an db means 0/ musIc,It e-expresse Y fown cu ur " nd the rest 0 ourtheater, songs, palntmgs, acultural expressi01~' ',' 'the artistiCaestheticYou can'tsacrr lCeJor k, doing the wor ,the motivation Jor mbers o/the communtyThe group are mefl t the problems o/theso they are able to re ec does not abandoncommunity, .The;~~~:y don't become prothecommumty,a did that they would{essional. I{ they d p The combecomea privilege tguroeusb~f~~ the com-, . erconm . dmumty ~Jng The main objectrv~ anmunity smger .. 'h' tist continue bemg aprinciple is that tearpart 0/ the com;u:~h~ps this is a little bit 0/Our work, an p 'nce the communif's toconVla dream 0 ours, I be rt That everythingthing can a.ty that every I of the people.is parr of the cu ture, society that is not per-. , . language tTl a by the mutilation 0/b,. or worse, I'vaded y les, {t ctlc/orpurgingreOI.meaning as a regu ar a d,'stortour descrlpfl·tty 0/ its conHere wethr.c, d risk losing forever etions 0/ realrty an and 0/ makingpossibility 0/ eloquenceA performance at the First NationalDance Felith,al....,'JII,'"•pII"

meaning.In Nicaragua people have a specialcapacity with language that can only comewith a consciousness of meaning in life -ofpurpose and of place -an understanding ofthe significance of your own actions withinhistory- which is shaped into eloquence byexpression in a shared context- Yourspeaking falls on active years, reaffirmingwith their own fives the accuracy of your actionsand of your analysis. (S.R.M.)Taller Nacional de TeatroAlan Bolt, directorCentro Popular de CulturaMatagalpa, NicaraguaBefore the revolution we learned todespise our own culture. It was easier for usto wear a white mask than to know our ownculture. We knew more about Liz Taylorand Richard Burton than Our own culture.We had a dictatorship inside of us.Everyone was an enemy of everyone.You can't change 400 years of being colonizedovernight. We've made mistakes... we learned to be colonizers too.Since 1979 Our work is with the workersand the peasants. We have no nationalopera ar national theater. We are rescuingthe culture. We have fought for the triumphof the joy -so our theater has to bejoyous. We use humar, dance, andsong.Alan Bolt, who at 30 feels old in thiscountry of young people, runs the TallerNacional de Teatro (National TheaterWorksh~) in Mataglpa. He is an actordancer, playwright, and director; he learn:~d t~a?iti~nallndian dances during his yearsm hldmg m the mountains as a fighter for therevolution.. All of the cultural brigades undergo train-Ing at the Taller; in body and voice workand especially in dOing community researchfor a performance. Groups learn to explorethrough dialogue the key problems in acom~unity and to involve the people in~reahng performances that explore theseIssues.The three days that we spent around theTalfer were central to our learning abouttheater in Nicaragua. We saw and discussedperformances there, listened to history andtheory of theaterwork in Nicaragua andtra~eled from there to watch a cerem~ny in~hlCh several peasants' COoperatives weregIVen land to farm by the governmentOther things Alan Bolt said to us abou thei~work:"You should learn from the universal culture."I tell them - That's true, but first wehave to demonstrate that we are part of theuniversal culture. Give us the right to bepart of the universal culture by being ourselves.My roots are so deep in European history.. I returned home from Nicaraguamore aware than ever of how thoroughlymy understanding of art is permeated withthe experience of objects or events, outsidetheir existence as culture-as a realm ofrelations, of creative interactions. (S.R.M.)Fourth Annual Showing of TheaterIn 1979 the theater workers of Nicaraguainstituted an annual gathering in Managuato evaluate the progress of their work for theprevious year. Muestra Nacional de Teatro(National Showing of Theater) continueseven though the country is fighting a war onits borders, digging trenches everywhere becauseit expects an invasion by U.S. backedforces, and is meanwhile organizing the coffeeand cotton harvests which provide thebasis for its economy.Theater has come to life in Nicaraguasince the triumph over the Somoza regime.Under Somoza there was one profeSSionaltheater- Teatrode Camera Managua. Nowthe ASTC supports four theaters, theMinistry of Culture another two; the ASTCcounts 120 new theater groups and saysthere are 60 amateur groups in the youthmovement alone. The National TheaterWorkshop in Matagalpa started with 39groups in 1980 and has grown to 192.Twelve groups participated in the FourthNational Showing of Theater. Each grouprepresented the best of regional competitionsheld in October. The purpose oftheyearly festival is twofold: to show new workand invite discussion and critique; to mobil.ize each of the participating groups al theconclusion of the festival to various productionwar zones to perform.Most of the performances we saw overthe three-day period were held in theEscuela de Dansa; in order to share thework with the surroundig community, performancesalso took place in a neighborhoodcommunity center, a factory werehouse,and on a street corner. Originalplayswere presented by a medical school, apolice department, MECATE, theater collectives,Sandinista youth groups, an armygroup, and a militia group.Alan Bolt told us, "Our theater isa theaterof questions, not solutions." Many of theplays presented problems, but no conclusions.The police department of Chinendegapresented a play that outlined inshortrealistic scenes, cutting from location 10location, how the police solve a crime.Another play presented the history ofwomenas it parallels the history of colonization,and the continuing problem of machismo asa form of opression. This was il1ustratedbyahusband who supported the revolution outsidehis home but beat his wife. The San·dinista Militia from Madriz performed LaMilicias en la Defensa, about their fi~htagainst the contras. Several scenes prOVIdedinstruction to the audience on howto ap·ply tourniquets and how to handle andmove wounded.In a community center that was threequarterschildrenbetween the ages of 3 and8, a group called Nixtayelero pres~nted anadaptionof a children s story. In It a era?learned10 become a bird and so changed hiswindowless,airless house for an airy, liqhtfillednestinatree. He then went on to teachhisdoubtfulgrandparents to fly.Aftereach performance at the Escuela deDonsathere was a discussion with the audience.Thisexchange was as significant apartof the festival as were the performances.Thediscussion centered on twoareas:the quality of the work and its suitabilityforperformance for coffee and cottonworkersin production zones. Commentsweredirectand useful: "Your voice is insufficientlydeveloped.. the images arecliche, 100 derivitive from television... the narrative lacks integrity, it's not persuasive.Theperformancesand critique invovled acompletecommitment to the shared workof creating communicative and energetictheater. The Sandinistas understand andulilizethe capacity of theater to pose questions,topreserve culture, to communicate,andto educate.My lastimage of the festival was standinginthe Escuela watching the members of ourdelegatian saying good-bye to the Nicaraguans-exchangingaddresses, takingpictures,making plans for future exchangesbetween U.S. and Nicaraguan theaters.Thetheater is a tiny (but powerful!) modelforusto tryout our ideas, our theories, waysof life and ways of communicating. Boal'sidea of the theater being a rehearsal f~rrevolution has been taken a step further InNicaragua. There the theater helps to ~ustainthe reuolutionary process of diSCUSSion,and education. What I saw in Nicaraguantheater was the direct relationship betweencreatiuity and change. (V.R.)First National Dance FestivalNicaragua's first National Dance Festival,d by the ASTC was held atalso sponsore 'f f 1 Thethe same time as the theater es Iva. . alASTC Ministry of Culture, and Nation fTheat~r Workshop are in the process .~_researching and preservin~ dances ofothe IceI s of NIcaragua, andigenouS peop e d that had neverforms were performe . .. sly been shared outside of their 10-prevlou . . dancers came from~:~;;e~~~~~~;~~~~:;~al to sho~ the~ ~~:~and to see what dance means e sew eNicaragua.nted in the festivalDance groups represe L n RioM Managua, eo,were from asay~, Bluefields and otherSan Juan, Grana. a, t From regions ofparts of the Atlantic coas . 1the Zomwa colorlul Dance 0Rivas we sa f the Ants) presented by thepopos (Dance 0 G This dance hasOmetepe Folkfore rouP' of a plague ofeits origin in the appea~a~~and of Omtepe.zompopos (ants) on t :~s was so great thatThe volume of the plag the insects withthe inhabitants scared a~~:h they movedbunches of leaves w the basis for therhythmically. Tha~;,~sancers moving indance we saw- . g bunches of greencircles and lines, wavmleaves above their heads and towards theground and the mythical ants.We also saw a fast moving, Caribbeanhthms dance piece that had beenr h Y phed by Stephanie Robinson, ac oreogra h hNorth American from the Bronx w? a~been teachi109dance at the BluefleldsCultural Center.First National CircusThe circus was held in a huge tent indowntown Managua, crammed .wlth a~ut3000 people. Like the festivals, It funchondboth as important entertainment and ase k! g and communications betweennetwor 10 . . Th acts were madedifferent communltles. e II rf the best performances from srna eup a f ound the country.local circuses clowns: an array of acrobats,Therewereco,digand contortionists; an a r ndancers, d' g smile One parleaderwith a neve~n ~d all a~ound theticular clown act U~age was entered, totent: dialog begu~ on sb a clown burnedeveryone's ~uri~::~die~ce; he joined thesomewhere I~ b Ishortly another boom·others in the nng, u of the outer. erged from oneing VOice em . The contendingrings of the ~~dl~~~:l)Tesenting differentclowns seeme a t y and to be comlclyprovinces of the coun r •. I their differences.argulOg ou . xtended.family circuS,It was a one-nng e t and no nets. Onewith a mostly teen~ge c:~al1er and roughereffect of being a~lrcu\han the Ringlingaround the e ges al ablelevelofcon-Brothers, was the vfer y P ~ in their daringcern for the per ormerWe never talk about death. We are tryingto create out of fire and madness and death~ thea~er of joy, full of color. Sometimes weave lIghts, sometimes we must play in the~fternoon, and sometimes we Ught a bonfireIn the.stre~t, but still we do our plays the wawe thmk/,fe should be-full of dance col Yand hfe. ' or,What we are trying to do is to create ourown possiblities. People are always saying,120 CulturalCorrespondenceCultural brigad ft h'e a er t en performance at Punto Noto."Committee 01 Mothers. I The banner says,h theater festlVa.Alan Bolt and Nixtoyalero at t ed M """"slor Peace and Ule."Heros an an,..Cultural Correspondence121

stunts. This was augmented by the unreliabilityof the lights. The audience was unifiedin our concern and in our pleasure at participatingtogether in an historic moment inNicaraguan culture.Cultural BrigadesThree different sets of youth brigadeshave helped to drastically transform thefabric of Nicaraguan life in the four yearssince the triumph of the revolution: LiteracyBrigades, Health Brigades, and CulturalBrigades. These are made up of young peoplewho receive special training and someform of identifying uniforms, and. travelthrough the country living and working incommunities. By day brigadistas participatein the work of the community, harvesting,road building, etc.; in the afternoons andevenings they share theirskills.In 1979-80,Health Brigades virtually wiped out polioand malaria, and vastly improved a slew ofother health problems; Literacy Brigadeslowered the illiteracy rate from 78% to13%. Cultural Brigades help a communityvoice to its struggles by making performancesabout their lives and work.Because health, education, and a flourishingNicaraguan culture are such importantaspects of revolutionary work, they arealso major tagets of the counteNevolution.Many of the teachers and health workershave been killed or kidnapped by contras.At the Talfer we saw a presentation by acultural brigade for the Mataglpa/ Jinotegaregion in the north. Members of the brigaderanged in age from 14-19, and had beenworking together for eight months. Theirleader was a 16-year-old young woman.They had done community research for thepiece we saw-a half-hour lively musicalperformance in which they tackled the difficultissue of fear of counter revolutionariesin the community.. all over Nicaragua people take turns stay-Ing up once a week to watch over theirneighborhood community, in case of contraactivity or invasion. These watches theSandlntsta Defense Committees (CDS) arec~rrently an integral part of daily life inNicaragua. In the play, everyone in a certainneighborhood is participating in the CDSexcept one woman; she also will not doother neighborhood organizing and work(such as trench digging). She is suspected asa Somocista by her neighhors; seveal ofthem get together and spray the word on thefront ~f her house. A friend passing the nextmornmg sees the graffiti and calls thewoman out to look. Both are shocked andangry.. The climactic song·and-dance follows. ItIs.a comic reminder that bombs don't comeWIth n~mes o~ them. The whole troupesang With their arms up like wings on aplane, and the person playing the bombwent door to door looking for its intendedtarget. The absurd humor of this imagemade apparent the anonymity and ubiquityof danger under a military attack.122 CulturalCorrespondenceIt was clear that graffiti-ing the house ofwoman who was not participating in thecommunity work could on Iy further alienateher from the revolution. An alternative wasloosely suggested by a final scene in whichthe leader of the local CDS went to thewoman, asked why she would not participate,and talked to her about it. Like otherNicaraguan theater pieces, this one did notprovide an answer to the problem; it can beused to entertain and to raise the issue withthe audience for group discussion followingperformance.As the women's movement taught us to/isten to ourselves as women, to preserveour stories. . so the Nicaraguans havetaught me that we all breathe and create thefuture by the visions we share with oneanother of our everyday realities. (V.R.)We followed another teenage cultural toPunta Nata, a cotton harvesting camp onthegulfofFonseca, where Nicaragua, Honduras,and £1 Salvador come together. Itwas a dangerous zone, and we were assigneda guard to travel with us for our protection.Children from the camp took membersof our delegation to where they could seethe lights of U. S. ships offshore in the night.The brigade did a play under one huge glaringlightbulb with two flatbed trucks as astage in the center of the camp for an audienceof hundreds of campesinos, us, anda Costa Rican theater delegation we weretraveling with.CaliforniaPeter Brosius1518 1 /2 18th 51.Santa Monica, CA 90404(213) 972-7356Joe and Judy LambertPeople's Theater Coalition653 Hillsborough #BOakland, CA 92606(415) 885-2791Minnesota:Phyllis Jane Rose &Marth BoesingAt the Foot of the Mountain200 South 5th StMinneapolis, MN'55454(612) 375-9487NebraskaDoug Paterson &Robin Gayle LewyDept. of Dramatic ArtsUniversity of Nebraska-OmahaOmaha, Nebraska 68182(402) 554-2406People at the camp were amazed by ourpresence. It was of obvious importance tothem to know that there were NorthAmericans who cared enough to travel0/1that distance show our solidarity. It meantknowing that they are not alone in theirstruggle against our foreign policy-therewhere the struggle is so concrete that theyface U.S. weapons every day. It wasequallysignificant to us to be able to feel that We arenot alone in the struggle against U.S. foreignpolicy. (S.R. M.)Goad networking is necessary to ongoingculture sharing between Nicaragua and theU.S., and to continued solidarity work. Theaddresses of the Ministry of Culture, theASTC, MECATE, and the NationalTheaterWorkshop are included in this article. Writethem for information or to plan a tour; youcan write in English, there will be someonethere who can translate. Many artists whohave been Nicaragua have formed orqanizationsto facilitate cultural exchange and tohelp plan tours; one such group is VE~.lANA for more information, see theirlisting i~ this directory. If you, your gro~p,organization, community center would liketo know more abut the arts in Nicaraguafrom someone who has been there, fellowingare the .n ames and addresses ofmembers of our delegation who areavailable to share what they know. All ofthese people. have access to slides, tape.s,and their own experience of culture Inrevolutionary Nicaragua:New York:Karon Atlas(Dance Theater Workshop)204 W. 94th 51. #3ANew York, NY 10025(212) 691-6500Charles Frederick803 9th Ave. #4NNew York, NY 10019Susan McCarnColleen McKay & Victoria Ruecan be contacted throughCultural CorrespondenceSee cover for address and phoneSondra Segal &Roberta Sklar h terWomen's Experimental T ea98 E. 7th St.New York, NY 10009(212) 866-7785Jim Traub920 Riverside Dr.New York, NY 10032

SOUTHWESTCALIFORNIALOS ANGELES AREA _SOUTHWESTTHE READERS'LEAGUEP.O. Box 6218Albany, CA 94706Contact: Stephan SikoraOwned and operated by Stephan Sikora,this private business venture is dedicated topromoting the theory and practice of privatecorrespondence. Its main activity is thepublication of a twice-yearly Catalogue ofCorrespondence which iscomposed of shortlistings submitted by individuals seekingothers with whom to talk about matters ofcommon interest."I have no political or cultural axe togrind," Sikora claims, "except for one: theneed for individuals to make sense of theirown experience through their own writing.Reading alone will not do the job and is ultimatelya dead end. Thinking through theproblems of everyday life and those of OUfcollective existence on this earth cannot beleft in the hands of the experts or the professionalwriters."We've got to do this job for ourselves, andI know of no better-or more enjoyable-way than through the exchange of privateletters. "Twe issues of the Catalogue have beenpUbl.ised~ far, the first containing 21 listingsby rune different letter-writers and the secondhaving some 40 listings from about 20writers. These listings Cover the political andcultural spectrum as well es e very wide rangeo~personal interests. One expatriate RussianWIshesto talk with his countrymen, for example,while other letter-writers seek conversationwith fellow joggers, journal writers couplewho divide up home and outside jobs innew ways, readers of Wittgenstein, andmany more.All listings are published without namesand addresses, for the sake of privacy. A simplet~o-stamp & two-envelope mail forw~rdmgprocedure is provided byThe Readers League at no extra cost for the initial let_ters to all those listed in the Catalogue Aftthe first exchange, correspondents ~ite d~~rectly to each other.Copies of Issue Number One are availablefor $1.00 each, and Issue Number Two for$1.50 each. The price for a single listingof upto 50 words is $5.00.DELL'ARTE PLAYERS ~~PO Box 816Blue Lake, CA 95525Com media De/l'Arte Memb f hPeopI'The s eater Coalition.. eroteSee also People's Theater124 CulturalCorrespondenceCoalition.LESBLANKFLOWER FILMS10341 San Pablo Ave.EI Cerrito, CA 94530A white docume..ntary filmmaker who hasfocused almost exclusively on Third WorldAmericans-black musicians, Chicanos,Lousiana blacks, black Indians-Blank isalternately ethnologist, musicologist, explorer,and celebrant of back-roads lifestyles in the U.S. He is probably best knownfor his 1980 film on garlic: "Garlic is asGood as Ten Mothers," which proclaimsD.E.A.F. Media, Inc.4560 Horton StreetEmeryville, CA 94608(415) 653-2722 (Voice)(415) 653-2723 my)D.E.A.F. Media, inc., is a nonprofit organizationwhich was founcl@in 1974 withthe goal of providing cultural and educationalopportunities for the deaf communityARTISTS IN THESCHOOLS OFSONOMA COUNTY7491 MirabelForestville, CA 95436(707)887-2046Contact: Greer UptonArtis~s in the Schools of Sonoma County.(ASCJ.IS~n association of established work-109 ertistsin a variety of fields with a commitmentto bringing arts into the schools. Our"Fig~t ~outhwash, Eat garlic!" Watchingthe film ISa total experience which includestouching, smelling, and eating garlicas wellas seeing the film.Other Blank films include "ChulasFronteras" a documentary about Tex-Mexmusic, "The Blues According to Lightnin'Hopkins," and "Always for Pleasure,"about the musical traditions of the NewOrleans Mardi Gras. As critic Ken Wlaschinwrites: "Blank never just makes films, he isalways involved in whatever aspect ofcounter culture he shoots."and to promote awareness and acceptanceof deafness by the general public. Its name isan acronym for Deaf Education and ArtisticFrontiers, and its services are provided pri·marily through television production, specialcultural and theatrical events and schoolprojects. Though the San Francisco BayArea is its management and service focalpoint, many of its projects have had nationalscope and impact,"bringing multiple awardsfor innovation arid excellence.purpose is to encourage students and theirteachers to engage in the processes of thearts and to experience the elation of self-discoverythrough creative expression. TheASC workshops are hands-on experiencesin which the students practice making art~·ginning with the first session. The program ISavailable to enhance the present curriculum,providing an opportunity to bridget~eformal structure of academia with the Mespectrum. We are artists who believe inteaching how to make things happen.IIIIIIIIIIAMERASIAN ARTCENTER321 Towne AvenueLos Angeles, CA 90013(213)680-2888Amerasian Bookstore and Gallery, AmerasianArts Center Asiarema, Inc., was establishedin 1971 as a center for informationand resources concerning or of interest toAsian/Pacific Americans. Besides providingliterature audio-visual and other educationalmateri~ls from its inception Amerasiaendeavored to ~ncourage literary and a~i~ticexpression relevant to the Asian/PacIficAmerican experience. The gallery feat.uresoriginal art, graphics, ceramics by A~lan/Pacific American artists. Poetry readmgs,music concerts, workshops and various forumsround out a busy schedule of events.Plans are being drawn Up for a coffee ho~sefor informal gatherings and the showcasmgof individual and small group performances.A multipurpose area will continu~to provide space for concerts, for~~s anmeetings. The organization has .ma.lhng serviceto local and national orgamzations andindividuals, as well as internationally.CALIFORNIACONFEDERATION OFTHE ARTSEastern Columbia BuildingArts Center849 South Broadway,Suite 611Los Angeles, CA 90014(213) 627-9273The California Confederation of the Artswas founded in 1975 by a group of volunteerartists, arts administrators, and. patronsto enable and encourage the artists andcitizens of California to continue to amaze,d I· ht and educate one another. Thee Ig , b rtConfederation welcomes as men: ers: a -ists and arts organizations workmg In alldisciplines, arts educators, and all t~osewho desire to strengthen the cultural hfe ofCalifornia.dM mbers of the confederation con uct astate:ide grassroots education and advocacyprogram on behalf of greater government,business, and public support for ~hert At the state level, the Confederation:n S~ges in year-round advocacy in s~pportof ~rts related legislation, lobbies durinq th~legislative session, and con~ucts an tn~uaArts Rally Day during which arts ee ersmeet with legislators.dEach year, Confederation members anstaff organize a statewide. Congress of t~~Arts Arts organizations, independent a.ists, arts funders, and culturally engaged cit-INTERNATIONAL MAIL-ART1556 Elevado StreetLos Angeles, CA 90026(213) 663-4256Contact: Lon Spielelmanizens from throughout California, representingall the arts disciplines, meet ~~exchangeinformation, discuss issues critical to thearts and help plan the cultural future of ourregion. .Publication (s): Newsletter, special bulletins.CATALYST MEDIA ~PO Box 211 , .. ,Venice, CA 90291 ~"'I",.tI(213) 396-1414 ,. _Contact: Glenn SilberThis is an activist film production companywhich produced the prize~inni~g film"EI Salvador AnotherVietnam. Their latestfilm is "Atomic Artist," the story ~f ,TonyPrice the painter and sculptor oriqinallyfrom New York who has been working nearLos Alamos since 1965 using weaponsscrap from the laboratory to create sculpture.For Price, the Los Alamos scraps ar.enot only the source of raw m~teria.ls .for hissculptures, but a catalyst for hIS artistic ~rocessa metaphor for "beating swords Intoplou'ghshares." This 30 minute film is ~vail~able from Catalyst Media or Icarus Films,200 Park Avenue South, Room 1319, NewYork, NY 10003... world as the Olympics are to sports, with the subs~itution ofMall-art IS to the art' n The essence of the mail-art network allows artists to playcooperation for c~m~.etl on. t dt tanced only by a postage stamp. It is free and it istogether and wor It. Ir~s ~~~re ISyet does not violate the integrity of the individual.de~ocrat:c. t i~ s~~: alpolitical ;ealization which will have to come about if we are toMaJ1~arta ~~olr net Shows are truly a social effort, displaying a whole that is indeedsurvlveohn t t"h P a ms' of its individually produced and free parts. It is a collage of thegreatert an e su , h . I ··t Mit. d 'ust as the Olympic Games are a collage of man s p YSlca SPI:I. y appe~ s 0;~n"61ymPic Arts Festival" to fund such a s~ow at the 1984 OlympICS were demed. Iho ing to find another source for fundmg.a~f it ~ere expensive to host a mail~art show in conjunctio~ ~ith the theme of th~01 mpic Games, then I wouldn't ask for help. But, for a mmlmum dollar expen.dl~lurey a major . ex h'lb'I!'loncould be mounted showing the works of thousands of d artists .\fro~ most of the participating countries. (A few thousand do.llars as compare to mt. ~I· ) The principles of mail-art activity conform to the philosophy of the OlympiCIons. 1 rt·· fconcept like no other phenomenon of modern art. A most every?~ ICl~a 109 countryin the Games has corresponding mail arti.sts w~o an.~ually partiCipate 10 ~undred~of shows throughout the world, many at major UniVerSitIes and colleges. Ma.ll-art embodies the spirit of cooperation and individualism between east and west 10 the artworld. Please consider this appeal and offer your support/ guidance in our search forfunding.

Cultural Correspondence 127SOUTHWEST LOS ANGELES AREALOS ANGELES AREA SOUTHWESTLITERATURA CHILENA,CREATION Y CRITICAP.O. Box 3013Hollywood, CA 90028(213) 660-5543Contact: David Valjalo, editorStatement of purpose: Chilean and LatinAmerican literature. Also illustrations. Culturalstruggle of the people against militarydictatorships.We publish a quarterly literary magazine,40 pages, 8l/2 x 11. We are now in our 7thyear of publication, without interruption.First issue was January 19, 1977. Contents:essays, fiction, non-fiction, ·poetry, news,book reviews, etc.Our main purpose is to reach the Americanwho speaks Spanish and is concernedwith Latin American problems, and is interestedin our culture. And, of course LatinAmerican writers all around the world.. Pr.esent,lythere is no freedom of expressionIn Chile. Our group is formed by Chilean& Latin American writers in exile.We are looking for help.V!.eare not associated with any particularpolitical group. We are struggling for democracy.MANUEL MANAZARGAMBOA ~Manazar / Olmeca Press1309 Mohawk Streetlos Angles, CA 90026Manazar is a bilingual Chicano-poettranslator and arts administrator bor .'L A I ' n mos ng es, California. His poetry has appearedin various literary publications. He isnow translating poetry of Pablo Neruda thgr~at Chilean poet. In Fe~ruary, 1983', h:paid a cultural visit to Nicaragua b twhlICh hehas written and lectured.' a ouManazar has been the President of theBeyond Baroque Literary/Art Center weDirector of the Los Angeles Latino W'.t sA '1' nersD~socla Ion; and currently is the ExecutiveITe::torof Co.ncilio de Arte Popular: a Califormastate-wideti .coalition of ChiIcano/La-no arnsts and arts organizations.L.A. CATALYST3517 Centinela Avenuelos Angeles, CA 90066(213) 839-9037Contact: Sandra Zichefoose126 Cultural CorrespondenceFrom Llteratura Chilena by Ricardo RadtkeEppleAll labor is donated. Our support comesfrom subscriptions and we are asking forthem.The ~.A. Catalyst, a grass roots newpaper, IS published by a collective wh s-members are active in a variety of osemovernentsand organizations throughout theLos Angeles area. The Catalyst is committedto giving support to grassroots movementsf~r social and economic justice and toexpressmg the need for a socialist solution tothe Current crisis of COrporate capitalism.The L.A. ~atalyst will attempt to serve asa sou~ce. of mformation, communication,orgamzatlons, and education for a broadrange of people involved in progressivestruggles throughout the L A area S ifII h . . peCllcaI' t e Catalyst will regularly r~port on~n an~I~~e a wide variety of local progres-SIV~activitIes and cultural events. It will alsoserve a~ an aid to organizing efforts by encouragingcommunications and mutualsupport. At time, it will issues specificcallstoaction.MOVIMENTO DE ARTEPOPULAR lATINO-AMERICANa (MAPlA)1860 E. First Streetlos Angeles, CA 90033(213) 264-4140MAPlA (Movimento de Arte PopularLatinoamericano) is composed of peoplefrom South America, Central America,Mexico, and the United States-includingAnglos. One of its major strengths is thatagood portion of the people in MAPLAarenot artists; they are in the fields of communicationsand organizing. Which meansthatinMAPlA three vital forces are joined togeth·er and working in unison.Some MAPlA objectives:1. To promote the organization of Latinocultural workers in California;2 . To accomplish solidarity work withthelatin American people;3.To counteract the cultural alienation ofour community by promoting and demystilyingthe arts; and,4. To network with progressive culturalgroups on a local, statewide, and mternationallevel.As artists, we have the grave responsibilityof creating art that is truly reflective of ourreality, and only then shall we be true to ourhistory. And, it is on this basis that we shallmake ours the standard of Simon Bolivaronhis 200th birthday, which is the ideal of LatinAmerican unity and self-determmatlon.the Woman'sBuilding, ullurea public center for women 5 c 1973founded rnSISTERSOF SURVIVALc/o The Women's Building1727 North Spring Streetlos Angeles, CA 90012(213) 222-2477alsoJerri Allyn573 Ninth Ave. #2New York, NY 10036(212) 564-6289Sisters of Survival is not an order of Catholic nuns. Rather, we are group of feministperformance artists who use the nun image symbolically, clothing ourselves in thecolors of the rainbow. We are indeed a sisterhood. We share a common world view.As artists working collaboratively, we seek to find the order in apparent chaos. Ourwork is strongly informed by values of community. We extend our work t~ audien.cesin such a way that the spectrum of people's different background and points o~ viewcan be recognized, even celebrated. Through performance, we are all gathered 10 thestrength of what we share. .Inspired by the visibility of anti-nuclear war demonstrations in Europe, we have 10-tttated a three-part project entitled "End of the Rainbow." With a similar movementrising quickly in the United States we feel it crucial to open the exchange betw~en artistsin both North Arnenca and Western Europe about nuclear issues. As artists weare in a position to generate cultural forms that significantly impact public awaren~ss.Through artmaking we can give voice and visibility to grassroots c~ncerns tha~ differfrom governmental policy. We also bring to this project our particular expenencesand perspectives as women. Traditionally, women have been the creators and nurturersof human life. Yet also, the world of public policy has not been informed by ~urvalues. We feel that it is now crucial for women everywhere to be active in reversmgthe destructive direction towards war and insist on the generation of peaceful interactionsworldwide. It is in the spirit of creating a North American-Western Europeanwomen's and artists' community committed to disarmament that we ask you to takepart in this projectwith us.TNR: THE NEW REPERTORYInternational College Building1019 Gayley Avenuelos Angeles, CA 90024(213) 208-6761Contact: Yen Lu Wong and Herbert ShoreThe works of Yen Lu Wong and TNR: The New Repertory are ~ased upon a ~onstantand unending search for those links with ancient truths and ~lsdom, fo~nd m allcultures, which illuminate contemporary life. They reach deeply IOta the hentages ofindividuals, groups and communities for a cultural awareness that leads both to continuityand new creativity in a changing world. .' .Some are large-scale participatory pieces in natural and a~chJtectural s~~mgs,others are intimate ceremonials for small groups. Often they provide opportunities fordiffering cultures to interact and create together, and sometimes they make use ofnew visual technologies in creating celebratory forms. . .As in the ancient past, once more in this technologIcal society we seek to createnew occasions of gathering appropriate to our contemporary needs, and new functionalcommunicative and celebratory places, creative centers that can merge andflow with the currents of life.Our purpose is to unite the experience of the indivi~ua~ with that. of the com.munityor groups, to give the single individual the sense of bemg involved 10 a dynamic totality;to link the past with the present, in such a manner that the past becomes not anevocation but an actuality, extending into the future. A work may grow out of a specialoreven sacred place, or it may in the process of its creation, mark a place as "sacred,"as spiritually transformed, making it a place which haunts the reflective consciousness.TNR is very interested in working with groups involved in political and social issues.TNR works with these groups in a variety of ways: workshops, master classes and thecreation of large participatory performance pieces in which the issue is translated intoan artistic metaphor through the use of sound, movement, design, light.istlew.O~.UlV·I·THE WOMAN'SBUILDING1727 North Spring Streetlos Angeles, CA 90012(213) 221-6162 contact: Cheri GaulkeThe Woman's Building exists to providewomen with access to the necessary skills,equipment, and expertise to make their artwork;to offer an avenue for professionalwork opportunities for women artists; tocreate an evironment where women canfind challenge and support and use artrnakingas a vital and essential instrument forsocial change. It was founded in 1973 bywomen artists who were energized by thefeminist movement in this country. TheWoman's Building was the concrete realizationof the dreams of women artists to find a"room of one's own" -a room they couldn'tfind in the rest of the art world. One of theoriginal projects of the Women's buildingwas an independent school for women's artists:the Feminist Studio Workshop. Thebuilding also included three theatre groups,galleries and bookstores.Current projects include the Women'sGraphic Center, a place where women artists,writers, and designers can gain accessto the skills and equipment needed to producetheir work; and the profit-makingtypesetting and design service which helpssupport the educational and artmaking activitiesof the Building. The Women WritersSeries presents readings and classes by bothprominent and emerging women writers.The slide registry contains the largest collectionof slides by historical and contemporarywomen artists in the United States, and thegallery and performance space continue toproduce memorable exhibitions and events.Although the faces and activities of theWomen's Building have changed during itsten years, its vision remains the same: to actas a place where the public can come tolearn more about women's artisticachievements, and to provide a spacewhere women artists can learn the skills, getthe support, and find an educated and appreciativeaudience. In its first decade morethan 70,000 people have attended and applaudedthe events at the oldest independentfeminist cultural institution in theworld-the Women's Building.

SOUTHWESTCALIFORNIACALIFORNIASOUTHWESTTHE SOCIAL & PUBLIC ARTS RESOURCE CENTER685 Venice Blvd,Venice, CA 90291(213) 822·9560contact: Sharon Spencer or Mary-Linn HughesSPARC is a multi-cultural arts center whose purpose is to produce, exhibit,distribute, and preserve public arts works. SPARe is especially committed to increasingthe visibility of work which reflects the lives and concerns of America's diverseethnic populations, women, working people, youth, and the elderly.Since SPARC was founded in 1976, the organization has involved hundreds ofartists and community groups in the creation and presentation of public works of art.With a determined emphasis both on artistic excellence and on multi-cultural programming,SPARC has received recognition from national and international media.An artist-run organization, SPARC has a deep commitment to supporting and providingopportunities for artists through employment, commissioning works, and exhibitions.Equally, SPARe is dedicated to the community, stimulating publicawareness of and interest in multi-cultural public art-art that literally belongs to .everyone.SPA~C is located in an historic Art Deco building erected in 1923, once used asthe Venice City Jail. The facility contains a unique gallery converted from the originalc.ell block with jail cells still partially in place. There are offices, etching press andsilkscreen workshops, a mural studio, and an educational center for mural research.This facility houses an array of outstanding programs which serve both artists a~d thegeneral public.SPARC is also the organizer of the Great Wall Mural project in the Tujunga WashFlo?d ~ontrol Channel. Almost Ih mile long, the mural illustrates the history ofC~hfo~OIafrom pre-historic times through the 1950's as seen from the perspective ofmmonty peoples, Pai~ted over five summers, under the artistic direction of JudyBaca, the project has mvolved numerous artists and hundreds of people.RURAL ARTS SERVICESP,O, Box 765 (45200 little Lake St.)Mendocino, CA 95460(707) 937·5818Contact: Ken LarsonKind of work: Information networkin d I .~ulturaIlY-interested organizati~ns and artis~' i~:n f~~~s~ tt~g t~ commu.nitY-base.d,literary - in a sparsely populated eo a' . s vrsuar, performmg, media,and covering all of California nort~ of~eP~~a~y Iso~ated area the size of Pennsylvaniaareas, We publish ARC: THE RURAL ARTS ~~~sco and Sacramento metropolitantablOid Withnews of exemplary individu J It LSEnER . a 12 page bimonthlyopportunities for exhibition perform a cud~r~~w~rkers and programs and listings ofregion with "Resource Fair;" whe ~ce, Ism ulion, publishing, etc. We tour thestate, and national pUblicationsanJ~: a~~s~eet each other and find out about local,we provide advisors who work with . ~ .. 1; I~ns ~hatcan help them in their work. Andcommunity objectives10 IVI ua artists to realize their specific career and, Kind of work we'd like to do: We'd like to c 'dlVldualsand grOUpsin Our region and . onnect With all culturally-interested inareasof the US and the world. ' especIally, Withcultural workers in other ruralThe community we work With/for' 1) 01"decorative" and "home" arts and I: f' der, often retired, people involved inJ, realStmearts'2)Y (krecent y-amved small town residents) rf ' ounger allen homesteaders orages and persuasions' 4) Amer',can I Pd~ormersland fine craftspeople; 3) Writers of alld I ' n lanpeopese k'eve opment and preservation of traditional val e 109 new avenues for economicHow grOUPwas formed: In 1979 J Ues,response to a request from the Cal-t peop ~om the region formed a consortium indevelop .pl~ns to provide "technical ~s~~~Ja "s COUnci! - the state arts agency. toAssOCIation with specific grOUps/' anOce on a regional basis.I I ISSues' ur "iss ". hru~a peope.fromtheirowncultureandcultural u~ ISt e disenfranchisement ofstnv~o bfuddcommunity cultural particiPatio:~~~n~at. ~e work with any group thatrnem r 0 the Alliance for Cultural Dem ) I entity. (Rural Arts Services is aocracy128 CuI/ural Correspondence.'Bulbul is a feminist, peace-orientedpolil_BULBULPO Box 4100Mountain View, CA 94040ical cartoonist who sends out reguJargraphlcspackets for use by social change groups.The cartoons are issue oriented. One series,Ms. Meg, deals with worker-employeereJalionsfor office workers; others deal withforeignrelations, militarism, ere.RCAF CENTRO DEARTISTAS CHICANOS2904 Franklin BoulevardSacramento, CA 95818(916) 453·9308Contact: Jose MontoyaThe Centro de Artistas Chicanos, alsoknown as the RCAF (Royal Chicano AirForce), was officially incorporated in 197~.Since its inception, the Centro has beenabllingual,bi-cultural Community Arts Centerfounded for the purpose of developingt~earts, supporting artists and providing artsticcultural and educational programs andevents for the Chicano community ofSacra'mento. The Centro has created a politicalforce on local, state, an~ nationallevels~~~the purpose of advocatmg for the arts..cally the Centro was instrumental inhaVIngthe hotel-tax become more viable to theartists.Statewide, the Centro serv~s a~1amodel for other cultural centers. Nationa y,the Centro was asked to testify at a Congres ,hi gt DC forle hsional hearing in Was man, d lsen'"Arts and Aging" because of its rna eior arts program.k _ foreground.Pillars at Chicano Par, & ~fichaelCoatlique, Susan Yamag otaSchnorr, 1978..1symbologyechoes humanity's cries againstIRICHARDKAMLER141Pine StreetSanAnselmo, CA 94960(4151456·8165My art uses as its subject matt~r the institutionof prisons ... and the attltud~s andforcesthat use prison as a form of SOCIalcontrolforan economic system. Prison is athrowbackto primitive times, and as such, acancerupon our existence. It must be ebollshedl,"Forthe past ten years, Richard Kamler swork has expressed his concerns with co~talnrnent,isolation, burial, and death; htslimitedchoices as they occur due to genetics,geography, and the social structures~government, education, prison ... Kaml~r ~current installation 'Maximum Secuntycombines his past concerns with his recentteaching experience at San Quentin pri:o~...Richard Kamler, in 'Maximum Secunty,has created a world he calls the 'reality ofhell,'peopled with decaying flesh and spirit,and so black it is impossible to find in it acrack of light."- Lois StuartSan Jose Institute of Contemporary ArtCENTRO CULTURALDELA RAZABox 8251San Diego, CA 92102(714) 235·6135Contact: Veronica Enriquez,David Avalos, Victor OchoaCentro Cultural de la Raza has cultivatedartistic expression of the Chicano commucinity at the same time that it has endeavoreto share this cultural heritage with all of SanDiego's citizens and visitors.hTo achieve these worthwhile goals, t ~Centro Cultural de la Raza has establisheprograms to: b ut1. Expose and educate the public a 0hthe only cultures native to this region ?f t eworld-the indian, MeXican, . and Chicanocultures.I' h2. Promote the finest artistic accomp IS -ments of the most - d' ISCIP10 - I' ed and produc·tive practitioners of Chicano art. f.. or as-3. Identify and provide tram 109pinng artists.mmunity4. Participate in and suppo~ ~ob socialcelebrations and events orgamzeoody ps'd 'hborh grou,ciVic, educational an nelg din and ap-4. Foster cultural underst~: of t~e Unitedpredation between the peopStates and Mexico. f Ch' no art and6. Establish a museum 0 Icaculture.CRAWL OUTYOUR WINDOW4641 Park Blvd,San Diego, CA 92116(619) 299-4859 ..contact: Melvyn Frelhcher,co-editorC lOut Your WindowSince 197~i' h~aw San Diego's experihasbeen ~~ ISa~~gvisual art work. Themental wntlOg II ith approxi-, appears annua y, w .mag azme . t t devoted to qraphicsmately 1/4 of ItScon en sand photograph~RAWL contributors (likeSome of the Fred Lonidier, JohnJennifer Kotter, k which is specifiCallyWeber) make art ~o~h'S work often dealspolitical in conten . h ; the politics of illegalwith local issues, sue a I M h of ourh B rder Patro . ucaliens or teo k is not specifically'b tor's war I . .contn u . t t in experimentation ISpoliticalb~~~~~~~:riIY formalist. We try tostrong, .:td' i linarywork,aswellasencourag~ Inter- ~~~n writers and visualcol~aboratJo,ns interested in formulaicartIstS. W~ re we wouldn't print a nicework. For IOsta~ce~ 'ddle end with ant y (beg1OolOg, ml , ,sho~ s or tor) nO matter what its conomOlscentnarra bo 'W bel 'eve that old forms are nng.tent. e I h· er.df ' Ilydestructive-becauset elrovAn lOa . II t n.1 familiar structure essentJa y nega .es coY t We're looking for work which hasten.somethOng to say and experiments formallyI, ..,. order to find the most excltlOg, 10-~novative, and appropriate methods ofrealizing its content. .We consider CRAWL to be periormmg avaluable political/social function: that ~s,helping the burgeoning artistic comm~~ltyin San Diego to coalesce, a~d .n~t diVidealong traditional lines of dlsclphne andSUSHI, INC,852 Eighth AvenueSan Diego, CA 92101(619) 235·8466Contact: Lynn Schuette,DirectorS hi Inc a non-profit corporationus I, ., D' I artsfounded in 1980, is San iego s ~n yprogram presenting and supporting c~ntemporaryperformance on a consistent a-sis. Presentations include: perf~rmanc~ art,multi-discipline works, video, IOstallatJo~~,and new music. Sushi supports the~e actlvl·ties by providing facilities, promotion, andtechnical staff and equipment. . .Sushi presents apprOXimately fifty hveperformances per year as well as monthlyvisual art exhibitions. Sushi has hosted artistsfrom the Bay Area, New York, ~hi.c.ago,and Canada, and also presents a slgnJfl~~ntnumber of local artists. All artists are pal apercentage of admission incom~.Sushi is used by many San Diego arts organizationsfor dance classes, ~ehea~sals,workshops, and receptions, and ISavailableon a rental basis.Sushi is dedicated to supporting the experimentalperformance arts. .Sushi, Inc., is a member of the followmgorganizations: National Associatio~s of ArtistsOrganizations (NAAO); Alhan.ce f~rCultural Democracy (ACD); CaliformaConfederation of the Arts.Cultural Correspondence 129

SOUTHWESTS.F.-BAY AREAS.F.-BAY AREASOUTHWESTADAMS & GOLDBARDP.O. Box 21089San Francisco, CA 94121(415) 681-4305Don Adams and Arlene Godbard worked with a wide variety of cultural projectsprior to establishing Adams & Goldbard in 1978. Don Adams served as DeputyDirector of the .Califomia Arts Council in 1976-77; and as a fellow in the Federal-State Partnership Program of the National Endowment for the Arts in 1976. ArleneGoldbard was Director of Cultural News & Services, and Coordinator of the SanFrancisco Art Workers' Coalition; she worked as a professional artist-painter, illustratorand graphic designer-from 1965-78, and during this period helped tofound several artists' organizations.From May, 1979, through April, 1983, Adams and Goldbard served as Co-Directors of the Neighborhood Arts Programs National Organizing Committee (NAP-NOe) (now the Alliance for Cultural Democracy, see separate listing), headquarteredin Washington, DC and Baltimore, MD, In this capacity they functioned asadministrators of the national organization, editors of its journal Cultural Democracy,and organizers for the national community arts movement.Adams & Goldbard are available for free-lance speaking, writing, research andconsultation projects. We are especially interested in the following types of projects:Consultation with community groups and public agencies in the arts and in otherfields;Planning and facilitation of meetings;Lectures, workshops and classes on subjects relatd to cultural policies and politics,community arts and animation work'Research projects that help to shed light on cultural problems and opportunitiescommunity development.The aim of our work is to help our clients make sense of their own situations in their~wn t,erms.,Our strong suit is to help people help themselves, not to parachute into asItuation WItha sheaf of survey instruments or a repertory of word games.ANDROGYNE BOOKS;ANDROGYNE: AREBUS OF POETRYFICTION, AND 'GRAPHIC ART930 Shields StreetSan Francisco, CA 94132ANDROGYNE BOOKS is an independentpress working within the cultural coincfdencaof San Francisco. Through thePUblication of books and periodical AN-DROGYNE we endeavor to provoke thereader with words and images that willchallenge accepted notions of literature andart. Our job as craftsmen and artists is tocontinually extend the boundaries of theknow~ .. The following titles are offered inthe spirit of provocation and exploration'Quotes from a sample blurb: "Stretch.'thA B" 109e gape ra, by Steve Abbott, published1980,52 pp.. $4.00. " ... Unless I am suffermgfrom only a momentary 'rapture'~teve Abbott is a genUine 'find,' a gay po~tI~ who~ works there is a 'perpetual weddm~of r~s~and SUrprise ritual,' a relentlesslyradical VISionthat is ever in the process of ac-como dating itself in-or beyond thebounderies of-form ... " Rudy Kikel, GayCommunity News.inAMMUNITION2239 Channing WayBerkeley, CA 94704contact: Stephen RonanAMMUNITION is the umbrella title for asmall group of artists spearheaded byStephen Ronan, St. Lucy, Ray Weapons,Joey Know, X-Burns, and Jojo Dogboy.AMMUNITION is an annual magazine(latest issue $2.50 to above address) ofanarchism, sedition, and black humor withsurrealist aspirations. Described by a CityLights editor as "irreverent," AMMUNI.TION is particularly interested in givingthevarious religions a boot in the ass, as wellastaking (hopefully) uncliched shots at theusual socio-political and cultural targets.AMMUNITfON is the name given to graphicsdistributed internationally through mailart and other art exhibitions, variousmagazines and illegal public posting, AM·MUNITION shephered and expanded theRadical Humor show in its two SF BayArea appearances. AMMUNITION beganas a shared subversive response by a trioofus to our jobs in "computerland;" our firstissue and earliest fliers were produced oncompany time and expense. AMMUNI·TION has recently published our firstbook,a poetic evocation with photos of primalAmerican Lizzie Borden who was acquittedof the axe murders of her parents.Our intention is to continue to foist ouropinions on the world and to set a bad examplefor those younger than us.IIIIIII,IIIIARTISTSAT LARGE1316Mariposa StreetSanFrancisco, CA 94107(4151431-3995contact: D,R, DeakinQuotes from their manifesto: "The focusand the manifestations of my work areshaped by my historical context, range of visian,and sense of potentiality which I holdregarding the artistic sensibility, mode, ofthought, and form of practice ... ass~mlngartistic regards illuminates constituentaspects which are basic to any thought pr?-cesses and their form contructs ... unavailableto humankind via any other disciplines... the various modes (of thoughtand practice) relate to ... each otherthrough abstracting experience and juxtaposing... their abstracts ... it is throughreflection (on) these activities that artistscontribute to the understanding of the... abstracting common to us all ... thedominance of the reflexive ... is that aspect... which differentiates the arts from(other) modes. .the accredited modes ...in Our OCcidental, post-industrial soci~tyare ... progressive ... evaluation of individualroles is the primary method bywhich the various social orders are distinguished... for example. , . capitalist, c:o~porate,and communal economies ... sumlarlywe indicate distinctions in political systerns... cultural tradition has generated anartist's role that is .. .In isolation ... thetechnologic mode ... has assigned thisvalue to the artist's image ... it would a~pearimperative that artists redefine theircontribution to cultural development ... wethe artists contribute to the integration of allviews ... for the artist to be dominatedby ... competition ... is in direct contra~i~tionto the very character of the artisticmode.ASIAN AMERICANTHEATER COMPANY4344 California StreetSan Francisco, CA 94118Contact: Dennis MeyersMember of the People's Theater Coalition.See also People's Theater Coalition.THE AOUONARCHIVE1741 Virginia StreetBerkeley, CA 94703contact: Michael Rossman. . d in 1977 to gather and preserve politicalThe AOUON Archive .was estabhs~e Thou h work of earlier or foreign ongm ISposters from the progressive community. d e;tic work from 1965 on, It includessolicited the Archive proper focuses o~ omt'v'lty_from protest and liberation' II of progre,sslve ac I . .posters from a streams I . to alternative community services.I d ironmenta Issues, h Imovements, .electora an env sand visionary proclamations. The core oft e co -union and miscellaneous st~ug?le, . 1" I, 30% of its pieces come from out oflection is local, but the Archive s scope ISna Ion a .state. nal collection gathered from 1960 on, since 1977 theEstablished around a perso h h s at yard-sales and from stores, and byArchive has grown mainly throug IIp~.rc aSf January 1982 the Archive containedtrading with a few other located c~~c ,~ns. n1965-69 700 ~ from 1970-74, andover 3000 posters, Including 4 hi + rom to be thelargest such collection in the1,300~ from 1975-79. The Ar~ IV~ ~~Om;ecesasof1/81) yet it holds a smallfraccountry(the Library of Congress, as 11 durin this time.tion of the 30-40,000 iss~ed natJ~n:o~rs or p~ce of public display, but the Archive isPresently there are no fixed ope d ti From time to time portions are placed. f m intereste par res. , I tavailable to inspection TO be II t' of 400 duplicates is available for oan 0. . . 'ty A su 0 ec Ion . . . I don exhibit 10 the comrnurutv. di I s and more extensive exhibits are p anne ,community groups for~e~~~~arrhel:~~ction will be placed in an appropriate non-Eventually, hopefully y 'Aprofit public institution in the Bay Miche IRossman Active since the start ofthe NewThe Archive's present curator IS IC ae d is currently writing a book about theLeft he has published three bookAs an . a The Bulletin of the AOUON Archive' I h litlcal poster In menc. frenaissance 0 t e po I If ter! I of interest to other archivists and students 0published occasionally, 0 ers rna enathis work.Bay Area TheaterWorker's Association(BATWA)3528 Sacramento 51.San Francisco, CA 94118(415) 346-4630We are a labor union, representingtheater workers in the San Francisco BayArea. Founded in 1981, BATWA is a g~assroots organization with a re volvl n gvolunteer staff. Our goal is to have a 11members of BATWA (an open membershipunion) working under contract withguaranteed compensation and safe workingconditions. We also do advocacy for t~edevelopment and promotion of ~heaters. Inthe area. Our 300 member constituency includesperformers, directors, designers,playwrights, technicians, front of houseworkers, and others.We have a newsletter that is publishedthree times a year, and devote energy tolobbying funding sources to increase grantsprovided to theaters that agree to payworkers reasonable wages.-And theydo.-And it works.130 Cultural CorrespondenceCultural Correspondence 131

Cultural CorresDondpncp 111SOUTHWESTS.F.-BAY AREAS.F.-BAY AREASOUTHWESTMS. BLUEJAY WAYc/o Keristan Island Best Friendship Cooperative543 Frederick StreetSan Francisco, CA 94117(415) 753-1314~~:~~~i~~~~~a~~s~~~:%:~ ~~~::~t~~. I am interested in forming a residential theater compan modeled 0i:hi~~utobiOgraph:(MYLife in~~).m~eO:ati~~eration in art" He d 'bed h 9 spirttualorder of actors practicingtrue coop-. eSCTl t e company as be' . hl h hwould livetogether on a cooperativel -maintai m9 on~ In W tc t e performerscho~ingto see ~heplays become guest~ofthe re~~~n~~t:~~I:~~e~~~~~:Y'tThePIeoftPleavmg spent time on the estate freer h a er on ya ertheir usual economic grind. eemg t emselves from the trials and tribulations ofTo these ideas, I have added some ofm ow . h hficallydesigned to introduce new ideas I~ "i t e ~ e,aterwe perform willbe spectplayis to introduce into the world of id. ave ong eheved that the purpose of thenew idealisticperspectives new institut~~Sn~~ w~yS~f approaching old problems,complex, polemic issues be'longon the sta ns, Th~rt er ~lievethat the most difficult,philosophic dialectics, while maintaining7~~ f( IStl~en,IS one of myqoals: to presentought to characterize theater.IVaity and entertamlng qualities thatRight now, I have met 16 other adults who shar ' ,Together we comprise the Coreof a new (nons ' )e ~~ philosophIcal persepctives,plement a nonviolent, nonpolitical strate e;~~t reh~lo~andareattemptingtoim_throughout the world which we call 'Th ~ ~chlevlng peace and prosperitystyle in the intentional community in whi ~ Ir o~emca Plan." The interpersonal lifewhich people maintain nonpreferential ;ulr l~eIScalled "~olyfidelity"households invariety in intimacy aids and abets th tt rp e adult relatlonships. Itismy beliefthat. e crea ive process W hOurcooperanva ecohomestation In th ' e ave not yet constructed. e country and a Iyou are Interested in the ideals I've described an r~ present y urban-based but ifented, you are invited to explore joining us. d even If you are not theatrically-ori_The B:oken Circle isa book-in~progresscombini . . ,perspectlves on the arms race and di ngpolltical, scientific andsp"t IL G lsarrnament Th . ' If1 ua.~nn rasberg, are affiliatedwith ONE WORLD M~co-editors, Stephen Most andVI ~o producers who came together in March DIA, a groUp of independentAction for Nuclear Disarmament" conf 1982, to document the "Enlighten dmembers of the group have videotaped ae~:~e at Stanford .University,Since the~Ea~h Conference, and the materialfor the bo ~r of ~ve~ts, mcludingthe Fate of th~w~~~ :e also ~ei~g edited for airing on telev~si:~oJectISdrawn from transcriptions. anuscnpt mcludes personal stori bo 'analysIsof the situation from man e~a ut the effectsof nuclear techpoliticalaction, and visionsof a w~rfde~~c~~es, ~ifferentapproaches to SPirit~~~~~das to create "conversations" amon n~c ear terror. Statements areet~nic and ide~logical baCkgroun~:.e~~~e~~t~r~e n.ational,racial, class, r:~:~guesda~ an appendiX outlines how to Useit ' IS eSlgned to empower its r '~lmulatecontroversYl thought action amdgrOU ps .Through this format we headersencourage all people to join in'th ,n problem-solVingabout the a' ope toThe project is seeking help Wi~ conv~r~tion and heal the broken c~r~l:raceandcomes contact with interested ersopubhclt~, marketing, and distribution .organizations and hope that it P'II ns, We Intend to distribute it thro hand welwithsuch immediate issues as t~~t;~~: ~7~~~~~orgh~niZingconscio~;ne;:::~:~no;ers 109IIcontroversy.132 CulturalCorrespondenceCAVAN.1649 DWightWayBerkeley, CA 947031!Jl9T~e Committee Against Visual andAudIO Numbness presents works by musiciansand artistsin a liveCommittee is made u cabaret setting, TheJoyce, Ray Farrell f-i r f fo~r people: DonPatrick. (Radio pe~ lee en . ~lt, and Tomistsin their OWnrighi) C ~uslclans, and art-. . .V.A.N. takes onTHE BRECHTCHANSONEITES3232 Buchanan Street #3San Francisco, CA 94123(415) 346-2472Contact: DeVinaIna Wittich and DeVina have been creatingand performing their programs togethersince a chance meeting in 1978. They workin an art style known as European Cabaretor the Literary Chanson style, a styleuniqueto the Brecht Chansonettes in the UnitedStates. Their current repertory features 3works about Bertolt Brecht and his work.The Chansonettes tour with both performanceprograms and workshops on the literaryChanson as an art style. They are presentlyin search of a third co-creator to sharethe literary and musical work involvedintheProduction of new program material, and asponsor who would support and promotetheir work on a more stable footing andwider scale.all aspects of the shows, including planningand promotion. The Committee operatesonly on funds made at the door the nightofthe show and from our own pockets. Theperformers are paid a percentage of thedoor also, The Committee is always seekinginformation leading to the discovery of newmusical and performing acts.Partial List of Performers. Performance:Irwin Irwin, Judy Malloy, Jeff Stoll/MollyThomas, Karl Danskin, Tim Badger, HistoricMoment, Stoney Burke and Helen Hold,G.P. Skratz. Music: Henry Kaiser, DorisHaya, Don Preston, Meat Puppets, MinimalMan, Negativland, Fake Stone Age, SaxSymbols, Ku Ku Ku, Good Dog, ROVASaxophone Quartet, Red Aunts, ZovietYouth, 12 Year Olds, Bent, Big City Orchestra,X--Mas Eve.CHINESE CULTURAL FOUNDATION OF SAN FRANCISCO750 Kearny Street w. · ·I San Francisco, CA 94108(415)986-1822 ~IThe Chinese Cultural Foundation of San Francisco is a non-profit and nonpartisanorganization providing support for the Chinese Cultural Center. Centrallylocatedin the heart of San Francisco, the Center offers a variety of educational andculturalprograms for the Chinese and non-Chinese community-ranging from lectures,workshops, and classes to art exhibitions, research projects, and internationalcultural-exchange programs,Since it opened in 1973, the Chinese Cultural Center has provided the means forpresenting Chinese culture to the community through its permanent collections,specialexhibitions, education and performing arts programs and research projects.Its facilitiesinclude an auditorium, exhibition galleries, workshops and classroomareas, a community room, a gallery shop, and offices.The Foundation was founded in 1965 by members from the Chinese communityand the San Francisco Bay Area. Its goal is to promote the understanding and appreciationof Chinese and Chinese American art, history, and culture in the UnitedStates. Its main objectives are as follows:To promote and preserve the Chinese cultural heritage.To provide an awareness and understanding of the Chinese and their culture to theEnglish-speaking community.To provide a forum for the creative expression of Chinese and Chinese Americanartistsof talent.To develop educational programs relevant to the appreciation of the Chineseculture for all ages, especially the younger generation.COMMON THREADS1553 Treat AvenueSan Francisco, CA 94110(415) 826-5244Have you ever talked to a satirical mime wearing a mask in a natural theater settingwho quoted poetry, did a dance, sang an original song and hung out with puppets?These are some of the many faces presented by Common Threads, a theater companyperforming since 1980 which is composed of four women, Jan Bolenbaugh,VickiDello Joio, Ruth Javel and Janet Keleler. Collectively, the group's skillsincludetwo years of mime training in Paris, over five years directing and choreographing,Overtwenty years study of music and voice and some fiftyproductions. As recentmembers of the People's Theater Coalition, Common Threads is part of the growingnetwork of performers whose work expresses the voice of the community.At pesent, Common Threads offers workshops in improvisation, mask-making,mime/movement and voice. Physical warm-ups, breath control, visualizations, theatergames, character development, and group interactions are among the tools usedto explore your collective creativity and politics.The company's most recent touring show-OUTBURST -explores a variety ofissues affecting the daily lives of four women. From love relationships to nuclearpower, from racism to survival, the show's impact has been described by one critic as"a daisy chain of hand grenades."COMMUNITY MEMORYPROJECT•916 Parker StreetBerkeley, CA 94710 =Community Memory is design as apowerful and public system for communicationsand information exchange. Itsmedium willbe computer technology: a networkof relatively small and cheap computers,each connected to a dozen or moreterminals located mostly in public placessuch as neighborhood centers, cafes,bookstores, and libraries.Community Memory can be used as acommunity filing cabinet, a continuouslyavailable conversation on any topic whatsoever,a place for people with common intereststo find each other, a tool for collectivethinking, planning, organizing, and fantasizing.Messages on the Community Memorysystems might include:announcements and comments on currentevents, entertainment, restaurantsdebates about community and politicalactivitieslistings of community resourcesinformation about bartering, buying, seiling,and rentingnotices about groups being formedgraffiti, poems, dialogues, and"multilogues. "More information is available in CommunityMemory News, published by theCommunity Memory Project.COMMUNITY MURALSMAGAZINEInternational CommunityMuralists' NetworkPO BOx 40383San Francisco, CA 94140(415) 285-6192Contact: Tim DrescherCommunity Murals Magazine is a periodicalproduced by, for and about visual artistsworking with "communities" of people. It isa magazine "committed to building a community-basedpublic art movement" in theUnited States and internationally whileseeking "to create an art of high qualitywhich is freely accessible to the people intheir movement against racial, sexual, andeconomic oppression." CCM began publishingin 1978, and expanded to a quarterlypublication in the fall of 1983. Althoughpast emphasis has been on mural art specifically,CMM now includes articles and informationon all types of communty-based visualarts. The magazine is well suited for usein courses on art history, sociology, ethnicstudies, women's studies, and humanities.CMM also maintains a slide library of muralart at its office in San Francisco.

SOUTHWESTS.F.-BAY AREAS.F.-BAY AREASOUTHWESTCALIFORNIA POETS IN THE SCHOOLSSan Francisco State University Humanities Office1600 Holloway AvenueSan Francisco, CA 94132(415) 469-1433contact: Katherine Harer•~, CROSSROADSCOMMUNITY1499 Potrero AvenueSan Francisco, CA 94116(415) 826-4290I"· ~.I,California Poets In The Schools (CPITS) established in 1964' t t id'1 b d . . ' , IS a 5 a eWI e~ommum y- ase Artlsts-m-Schools program jointly sponsored by the National Enowmentsfor the Arts and the California Arts Council In 1981-82 CPITS I d;t~~e~~set~~7T~~1 schools acr~sst~e state, working' directly with over ~~~~O. IS the largest wnters-m-the-schools program in th rgra~P'Ti sfonsors p~etry writi::gworkshops in schools through~u~~~l~f~rnia in~~~~:~~f;:'~~;~~:i~~!;es:Wtnn s.tiO~~~f~r~~:~~~:nt:~I~OuC~~~~O enco~~age studentsrange of programs:~~~~:~~~t:~dbrh:~:aab~~~~~~~~~~h~i~~:O~:~:~:~towrite,usingtheir imaginadevelopeda curriculum that com~1:~:;~~~et~ec~7r:~e:o~trYf't~oet-teachers havestudents become competent with I Th .or 0 e schools: to helpmodelofcommitmenttoima inativ:~;uage. e ?~et In t.he classroom is a livingartists's insights. 9 nguage and IS In a unique positionto share an. Our emphasis is on long-term, in-depth residenc' . hIn a particular situation for thirty to sixt sessions d le~In SC ools, so that a poet worksalso provide short residencies of fifteen Y ' .unng a semester or a full year. Wedemonstration workshops of five sessi~~:~lons, pilot workshops of ten sessions, andBRUCE N. DUNCANBerkeley Inn Hotel, Room 4142501 Haste StreetBerkeley, CA 94704(415)845-6370, Room 414Publications available:Hank and Hannah Comics #1 Bruce N 0I t'a Ionsh'rp afa man and a woman-$2,.00uncan.The sad,happy,down to earth re-Tele 11mes Telegraph Av ,. h' ..23-30-$2.00 ea. enue s tig t Httle magazine-street life, comics, etc., #21,TWisted Image, headed by Ace Backwords .about certain themes of the times; has comics -#~~~atlv$e newspaper-styleEt. al.. . - 1.00 ea.publication. I have a small fixed income. I draw write .ist, but bei~g an editor is easier as st~ady v.:o~~dedit. Most of all, I like being a cartoon-I work Withthe Telegraph Avenue off-be .?wn way. Even ifI'm putting into someon at str~et sc~ne. I like to do my own work m109. my Own way. I'm allied with Ace Bac~:~:ds p~~h~ation, I have to do what I'm' do~assistant editor. Besides doinq my Own work s I wtsted Image" as contributor and~omeone can help me make a living while' do ' orkc or hope to make money IfInterested. my wor or through my we k I'd b .P liti I r, everysu 0 I ca gr~UPS, interests? I don't care much for ..F rely good. I ';l more interested in life itself fr ~~htical talk, although some of it isI ordexahmple, I ve published notices for a w'h 0 1m w lch many political interests Comeee s t e poor d f . . a e conservatio .backs' I publ' h an ~r a CIVilrally to protect the poor fr n center, for a center thatH ' IS . ~atenal about and from street pe Jopes, speCIal Interests workin . . op e.am government financial cut-editing, and publishing wo~k sam; t~Ondltions? I want to do more cartoon in ..of the Berkeley community 'd be of greater scope; I want to be g, wntmg,do mare work on na .,an more of a contributing citizen mOre a memberwork space tural hIstory (e.g. more on whales)" want tob.m y cohuntry; I want to. , alggerom'hSee also: Twisted Image ew\t moreThe Farm started in 1974. Its core ofworkers and hundreds of volunteers havebrought into use a 40' x 120' theater, a threestory community center building (top floorisan art gallery, basement a pre-school), threeareas of gardens, an animal farm and ato fillthese spaces. Theseprograms include all ages and culturalgroups, various visual and performing artforms, educational and job training activi-~ies. The purpose is to bring art, education,Job training, workshops and a variety ofcommunity meeting functions to the peopleof San Francisco and the broader Bay Arearegion in a rural setting in the middle of thecity.CULTURAL WORKINC.'478 W. MacArthur BOUlevardW•• IOakland, CA 94609 I I(415) 653-8502 ~Cultural Work, Inc., is a non-profit organizationfounded by Holly Near fo coordinateher noncommercial and educationalwork for peace and social justice.We are a membership organization thatwill build on the special empowering bondestablished through the sharing of a culturalexperience. Our members will receive newslettersthat report on the people and eventsthat are a part of our cultural work for peaceand social justice.Cultural Work, Inc.'s plans include:Developing educational and organizingprojects that combat racism and antisemitism,speak to the issues of gay and lesbianrights, and work to eliminate sexism.A long term program of outreach and educationon the needs of the deaf and disabledcommunities for access to progressive informationand cultural events.An ongoing series of education lecturesand workshops led by Holly Near and expertcultural and grassroots organizers.International peace work, including exchangeswith Japan on our respective peaceand women's movements.Cultural and educational work in solidaritywith Latin and Central American groUPSworking for human rights.~==-------:--::-~-CULTURAL ODYSSEY ~~714 Elizabeth StreetSan Francisco, CA 94114Contact: Rodessa JonesA jazz performance ensemble and memberof the People's Theater Coalition.-See also People's Theater Coalition.134 CulturalCorrespondenceGraphic by Lincoln Cushing.LINCOLN CUSHING5701 Oakgrove Ave.Oakland, CA 94618(415)652-7111 (wk)Iam a graphic artist and cultural worker inthe San Francisco Bay Area. My skills includesilkscreening, graphic design, andorganizing. I am a member of the InternationalPrinting and Graphic CommunicationsUnion, AFL-CIO.Ihave worked on a wide range of issues(women's health, Central American .andAfrican solidarity, anti-nuclear, occupationalhealth and safety, progressiveculture) helping groups to visually expressthemselves in the most productive and affordablemanner possible. Most of my productionefforts fall under the category ofpropaganda, a term which I believe accuratelydescribes the serious application ofartistic skills for political use. I am particularlyinterested in work which abandons overusedvisual cliches and approaches publicpolitical art in fresh ways. Icurrently work ina collectively owned and operated printshopwhich produces much of the publishedmaterial for progressive groups in the BayArea.Besides producing artwork, I am activelyinvolved in organizing other progressive artistsand presenting oppositional culture tothe general community. I help organize exhibitsand discussion groups, write for progressivearts publications, and communicatewith many kinds of cultural organizations.As a marxist, I strongly believe that artistsneed a clear political ideology which willhelp guide their work. Although terms suchas "activist," "progressive," and "culturaldemocracy" do vaguely serve to define ourapproach to cultural work, there are a hostof ideological and strategic differences lurkingbeneath these concepts which need tobe articulated and discussed before "we"really are a we. Diversity, Si! Ambiguity, No!EAT IT UP c MAGAZINEBerkeley Office1649 Dwight WayBerkeley, CA 94703Eat It Up C Magazine is a monthly map to San Francisco Bay Area exhibits andevents. Its regular features include "The Front Page Story," "What Is Art to a PosturbanArtist?" "The Eat It Up c Editorial." "Grafitti of the Week," "Reviews," "Upcomingand Current Events," "Mail Art Information," "The Mailbox," and "BackPage Graphic Art." ..'Eat It Up ¢ has been publishing since May 1981 with Franklin VOId (a.k.a. Patnck)as its editor. It is distributed free in the Bay area and has regular subscribers both nationallyand internationally. It has also appeared in various exhibits in the U.S. andJapan.This magazine is a loose collection of contributing artists and writers that feel compelledto help explain in whatever way they c~n the post~rba.n art and culture to theunknowing public. A partial list of involved writers and artists include: Artfoot, HelenHolt, Stephan Ronan, Stewart Wilson, Buster Cleveland, Tom Patrick, John Tormey,Steve Random, and a bunch of others ....Eat It Up C planned to have its first book of collective essay out in the summer of1983. It is entitled "Posturban Theory" and will be available by writing to Eat It Up coffice. We are always looking for new ideas, so if you have any, or other inquiries,send them to our office.THE EDUCATIONAL6511 Gwin RoadOakland, CA 94611FILM AND VIDEO PROJECTContact: Vivienne(415) 654-6312We make documentary films on war/peace issues, and develop follow-up discussionand educational packets. To date we have completed "The Last Epidemic" andour newest video-film documentary, "In the Nuclear Shadow: What Can the ChildrenTell Us?" In the brochure distributed by the Resource Center for Nonviolence(P.O. Box 2324, Santa Cruz, CA 95063), "The Last Epidemic" is detailed: "Medicalconsequences of nuclear weapons and nuclear war convey in plain language the ef~fects of one or more nuclear weapons on a civilian population. It describes in detailthe drastic damage to the environment and the long range devastation of the planet. Itstands alone as the most effective and conclusive evidence available with statementsby eminent members of the medical and scientific communities." It is a film that hasbeen hailed as a "staggering presentation" and a "tremendous educational tool."We at The Educational Film and Video Project wish to continue work on specificallywar and peace issues and our bias (which no doubt is apparent!) is towards bilateralnuclear disarmament. We distribute both films (videos are also available) by grassrootsmeans-churches, schools, organizations and groups and through showingson PBS. We ~ope to complete a new film, "What About the Russians?" but as yethave not receIved the necessary funding.Our hope is t? awaken people to the dangers of the arms race, so that we can jointogether collectively and work for social change.Cultural Correspondence 135

Cultural Correspondence 137SOUTHWESTS.F.-BAY AREAS.F.-BAY AREASOUTHWESTEDUCOMICSc/o Lionard RifasP.O. Box 40246San Francisco, CA 94140I research, write, draw, letter, edit,publish I and distribute educational comicbooks. I have recently begun experimentingwith slide shows.Besides publishing work by myself andother cartoonists, I like to create comics forworthwhile organizations, like the Foodfirst Comics Iput together for the Institutefor Food and Development Policy or AboriginalComics which I did with Planet Drum.I identify with the "independent" wing ofthe comic book industry and with the citizengroups working against the consequencesof concentrated political! economic power.I work "alone" and occasionally hireother cartoonists on a freelance basis.I hope to provide alternative models ofwhat comic books can be and to popularizealternative models of how we could recreateour energy-food-communication-health.etc. systems in ecologically viable ways.FILM ARTS ... ~;FOUNDATION r ~..346 Ninth St. Second Floor I' .ttISan Francisco, CA 94103(415) 552-8760 administrativeoffices(415) 552-6350 editing facilitycontact: Julie Mackamandirector or Gail Silva, dir~ctorFilm Arts Foundation is a nonprofitmembership and service organization for independentand video makers of the SanFranci~o Bay Area. Now in its seventh yearand with a membership numbering overseven. hu.ndred, FAF is the largest regionalorqentzatton of its kind in the United StateMembership is open to all independent fil~and vide? artists and to those interested inthe future of independent media. A profileof the membership reflects a cross sectionfor format~1 levels of experience, and stylesof expression.The goals of the foundation remain thosethat prompted its founding: the support and~romotion of independent media produc.tion. In pursuit of these goals, it acts in concert~ith. media artists and media-relatedorg~Olzatlons. In past years, Film Arts Foundationhas worked in cooperation with~umb~r of r~gional and national organiZa~ttons, .lncludmg the American Film Institute,Washm~ton, D.C.; Association of Inde pendentVideo and Filmmakers Inc NY k B ' " ewor;. ay Area Video Company, San~ranclsco; The Independent Feature Pro-Ject, New York and Los Angeles; San Fran-136 CulturalCorrespondencecisco International Film Festival; and VideoFree America, San Francisco. This network,devoted to the growth of lndpendent-Iy produced media projects, will expand inthe future.Some of the member's benefits include:FUSION VISUAL THEATER2839 Steiner StreetSan Francisco, CA 94123(415) 563-7334Contact: Carl HeywardRelease Print, the newsletter of the FAFpublished 10 times a year; an editing facility;proposal consultation/sponsorship; festivalfile/festival Has o n , resource library'seminars and workshops; group legal planand advocacy.Fusion Visual Theater was founded under the-auspices of Galeria de la Raza SanFrancisco's ~enter for Latin arts and culture. Not restricted to the Latin community,we are a sprmgboard of activity that has resulted in performances with NY's FashionModa, ~anceloft (SF) and most recently ASCO. The latter, a multi-media troupefrom LA s.b~rnos,. crea~es and presents pieces that touch upon the identifiable aspects~f urb~n living: allenation, angst and desperation while retaining a human perspectiveWIth hum?r a~d wry acceptance. It is the philosophy of Fusion Visual Theaterthat collaboration ISthe best means of creating new and exciting exhibitions and performanceart.FVT's. newest project, STAGES, addresses the artist's conception of success. BayArea writer and Galeria director Rene Yanez, writer and photographer Carl Heyward,and photographer Bart Ross collaborated with ASCO to develop this unique~nso~ tableau. STAGES consists of a total environmental approach to staging, utili-Zl~g SIXstag~s constructed in space (galeria) with a limited audience led through 45minutes of Sight and sound.C ~s~ collaborative effort, the project brings together people of diverse backgrounds.. a~98~yward worked for NEA asa media consultant in the Expansion Arts ProgramIn II b a~d was fortunate to discover the Inter-Arts programs which give grants fordffco a oration f between artr ISSOl f different bac kgrounds for the creation of new works in. I SerenFtields. Partners Bart Ross, director of the Western Addition Cultural CenterIn an rancisco's Bla k . d Rc trib t d c community, an ene Yanez, who is also a printmaker,zorld u e . ~ne~gy and ideas. Through our efforts we hope to see a growth in thirdwar partlclpatlon in perf d h' . I1ormance art an ot er experimental and conventionaarms.GRASSROOTSFUNDRAISINGJOURNALP.O. Box 14745San Francisco, CA 94114. Published monthly, the Journal is de-SIgned for non-profit commu ·t .vel d i Id 01 Y groups m-b ~e 10 WI e-ranga activities from neighorood conservation to social services.-Annual subscription fee is $15. Write for information.CARL HEYWARD ~e2839 Steiner 51.San Francisco, CA 94123.See FusionVisual Theatre.JOURNALOFCOMMUNITYCOMMUNICATIONScf 0 Village DesignP.O. Box 996Berkeley, CA 94701(4151849-3442"One 01 the best (and maybe the only)sources of information on experimentalcommunity communication and informationsystems ... The Journal has good indeptharticles that explore political, social,and technical aspects of communications."Steve Johnson, RAIN Magazine.Community Communications has alsohelped to advance the Community MemoryProject-see separate listing. Subscriptions:$9 for four issues; $15 for institutions andforeign; $21 airmail.JUMP-CUTP.O. Box 865Berkeley, CA 94701Jump-Cut, a tabloid review of contemporarycinema, covers issues, topics, andfilmsoften ignored by establishment meida.Its critiques of traditional films are both intelligentand well documented. But morethan deconstructing Hollywood's finest,Jump-Cut addresses alternative means ofproduction, distribution, and consumptionof film media. Feminist, Third World, andexperimental frameworks are used toanalyse independent productions as well asthe mainstream trends in film.Each issues has reviews of contemporaryand classic cinema, as well as articles ontheory, critical dialogue, print reviews,reports, and special sections. Jump-Cut ispublished about four times a year. Subscription:$6.00.KEARNY STREETWORKSHOP827 Pacific StreetSan Francisco, CA 94133(415) 441-2458The Kearny Street Workshop (KSW) hasbeen serving the San Francisco Chinatownand Asian community since 1972. Recoqnizingthe lack of opportunities for AsianAmerican artists to express themselves,KSW was formed as an alternative to the establishedart world. At the time there existedno community art workshop serving the Asiancommunity. What started as a small,storefront operation blossomed into a centeroffering artistic training in the graphicarts, photography, printmaking, and manyother media. Not only has KSW led the wayin providing free or low-cost graphic servicesto community groups, but it has alsoBy Mark Kleepromoted the understanding of ChineseAmerican culture through timely historicalexhibits. We aim to create an environmentwhere Asian Americans can be both participantsand audience to their art. Throughour publications, productions, performances,and lectures we have established aforum for Asian American artists of variousmedia to reach a wide, diverse audience.We counteract misleading stereotypes ofAsian Americans perpetuated by the massmedia, and in doing so, promote pride andrespect in our community.KERISTAN ISLANDS BEST FRIENDSHIP COOPERATIVE543 Frederick Street .....San Francisco, CA 94117 •• M.(415) 753-1314 or 665-2988 • .11"Contact: Ms. Tip Tye --The Keristan Best Friendship Cooperative is an egalitarian (democratic, nonsexist)intentional community of artists and writers. Our current membership is comprised of10 women, 7 men, raising 4 children. We live together and produce team art. One ofour mottos is: "The purpose of art is to beautify the artist; anything else is merely byproduct."We believe that by using our combined t~.lents to furth.~r the ideal ~~"crea~ingpeace and prosperity on Earth through nonmilitary nonpolitical means, we Willhave the inspiration with which to help us nuture our hidden artistic potential. As amethod of achieving this ideal, we have formulated "The Domenica Plan," a stratgeyfor utilizing private sector voluntarism-the creative cooperation of ordinary folkstoerode poverty, illiteracy, ignorance, unemployment and underemploymentthroughout the world.We derive some of our inspiration from Walt Whitman who called on the U.S. tocreate a new art form. The new art form we propose, and practice, is called "culturesculpture," a model culture in which individual liberty and economic equality mutuallycoexist. The culture we're designing and testing is one in which all values reinforcethe emergence of each individual as an expressive artist.We are poets, writers, book and periodical publishers. We also produce a weeklyTV shows called "Scientific Utopianism." Four of us are songwriters, one is a playwright,another a graphic artist. Our group was formed by a poet and visual artist whosought to create a new religion which would be egalitarian and totally rational-abrand new "Hestyle package" including an alternative relationship structure called"polyfideltiy" (emotionally-committed multiple adult households). We seek others tolive and/or work with. Send for our free illustrated handbook.MARKKLEE1117 De Haro StreetSan Francisco, CA 94107(415) 824-0315Recently moved to the Bay Area fromPennsylvania, where Ifreelanced for severalyears, and contributed to Heavy Metal magazine.I'm drawn to the dark and mysteriousside-I was born on Halloween-but I likemy work to have impact (the series of headsI did are each a yard tall and there are 115 01them). Normally 1work alone but I'm interestedin creative collaborations, and inmeeting more of the area's artists (too newaround here to know anybody). I also recordmusic, mostly avant garde and electronic.Hoping for contact with like individuals.I like using humor, too. There you go ..Want to get into video. more high-techmethods.

SOUTHWESTLILITH: A WOMEN'STHEATER3543 18th StreetSan Francisco, CA 94110Contact: Barbara PerlovMember of the People's Theater Coalition.See also People's Theater Coalition.MEDIA ALLIANCEBuilding D, Fort Mason ~San Francisco, CA 94123(4151441-2557~.!!!!!!!!IIS.F.-BAY AREASTEPHEN MOST124 Linda StreetSan Francisco, CA 9411 0(415) 282-5502.~I work as a playwright & reporter. As a reporter I research social issues; then Iwriteplays about them. The subjects my plays dramatize include Indian wars, illegal immigration,nuclear technology and the use of media images in politics. Many of theseplays are comedies; all, so far, include animal characters. A number of my workswere written to meet the needs of existing companies.I write for the public at large; theater-gaers, readers and television viewers.I work in association with the Peoples Theater Coalition, based in San Francisco,and teach at the Peoples School of Dramatic Arts. I am also associated with theDell'Arte Players Company and teach at the Dell'Arte School of Mime & Comedy inBlue Lake, California.As a video reporter r have conducted "enterviews" on subjects concerning nuclearpolicies and technologies at conferences and for independently produced programs.These enterviews are being published in a book called The Broken Circle, which Iamco-editing with Lynn Grasberg.I am always looking for directors and theater companies to produce my works andto develop new plays with me.The Media Alliance was founded in 1975by a group of Bay Area journalists as an associationto represent the interests of mediaworkers and to help local writers, editors,producers and others learn new skills, makefresh contacts, and change the way the mediado business. Today there are almost2,000 members, all of whom have access toa variety of Media Alliance services: grouphealth insurance; a credit union; a media jobbank; and an advice and referral service formaking connections. Other Media Allianceactivities include:• Presenting a variety of workshops.• Working in defense of journalists whohave been challenged for controversial rcporting.• Establishing a Rights Hotline which dispenseslegal advice around the clock.• Organizing a deluge of telegrams forjournalist Larry Johnson when he was imprisonedand tortured in Colombia .• Organizing public forums on such topicsas "Media Coverage of EI Salvador," "Breakinginto Television," "Directions in FeministMedia."• Publishing Medio File, Northern California'sindependent media review coveringthe good, the bad and the ugly. Media Filereaches over 10,000 readers every month.Media Alliance membership: $40, working;$20, Subscriptions to Media File: $15.,... ,..,NATIONAL WOMEN'S "H"MAILING LIST1195 Valencia Street...,"San Francisco, CA 94110(415) 824-6800A partial listing of the kinds of mail beingsent out to members of this network: Women'sliterary, art, scholarly and poli~carmagazines and journals; women's pUbh~~ing houses announcing new feminist boo s;, , muproducersand distributors of women.~5sic. Write or call for information.EDWARD MYCUEP.o. Box 99543San Francisco, CA94109-0453Edward Mycue is a poet·Iedinthemvo v d Thstruggle. He has a book of poems ca~l~lishe~Singing Man My Father Gave Me, p.m 1980 by Menard Press,London (see sep-arate listing for address).HOLLY NEARc/o Cultural Work, Inc.478 W. MacArthur BoulevardOakland, CA 94609(415) 653-8502Photo by Ruby Roche:t~o:-, -:r:e~Pr:O:d~u~c~e~d:-:f:"r~o.m-::"w~e.l"A.r.e-J Activist, singer, songwriter,worker and organizer.See also: Cultural Work, Inc.138 CulturalCorrespondenceculturalNORTHMISSION ARTS "COALITIONNorthMission Association3004 16th StreetSan Francisco, CA 94103Contact: Director for the ArtsThe North Mission Arts Coalition(NOMACIwas founded in spring, 1983, bymembers of the North Mission Associationto serve and network the neighborhood'slarge arts element and keep from beingpawnsof displacement in this neighborhoodof low-cost housing and ethic/age/sexualdiversity.Initial efforts have included struggling tohelpa Honduran exile poet-publisher frombeingswindled out of his house, and the developmentof an unused Armory for aneighborhood Arts Festival this fall. TheNorthMission Association is a grassroots organizationopen to everyone who lives orworks in the North Mission area. Foundedin 1975 as Operation Upgrade to combatthe growth of pornographic businesses intothe Mission neighborhood, it soon becameInvolved in the fight against arson and housingissues.OVERTHE EDGEc/o KPFA Radio2207 Shattuck Ave.Berkeley, CA 94704Contact: Don JoyceOver The Edge is a radio program broadcaston KPF A Radio (listener~sponsoredradio for Northern and Central California),94.1 FM in Berkeley, CA. The show is a livefive hour mix involving a rotating crew oflocal audio artists spearheaded by DonJoyce. It is a counter-conceptual piece thatincludes input from listeners via the phone aswell as the usual radio output. The programhas been on the air now for over two years.S.F.-BAY AREALA PENA CULTURAL IW· ~. • ICENTER3105 Shattuck AvenueBerkeley, CA 94705La Pena Cultural Center was founded in1975 to provide a place where peo~le of allages, races, cultural and e~onomlc .backgroundscan experience the nch and diversecultural expressions from North a~d S~uthAmerica, Africa, and Asia. In Just elg~tyears, it has become one of the Bay Area smost important community cultural centers.More than 2,000 people each month attendnightly concerts, forums, films, dances andPEOPLE'S THEATER COALITIONFort Mason Center, Bldg. B, 3rd FI.San Francisco, CA 94123 .(415) 885-2790 or 776-8999 box officeContact: Carl HeywardSOUTHWESTtheater and monthly art exhibits in the CulturalRoom. We also have a CommunityCenter, added in 1978, which providesspace to community groups for meetmgs,benefits, rehearsals, workshops and classes.The Latin American Resource Center wasadded in 1979 to provide a wide range of re·sources on Latin American culture and society.In the past four years, La Pena h~sproduced five full-length, bi-lingual, multimediaproductions which have been performedthroughout the area. Our volunteerradio and video groups have brought LaPena's unique programming to thousandsmore.. . (PTC) founded in 1979 is a non-profit membershipThe People's Th~ater C~~ltionf . al community-bas'ed theater companies, mostorganization cornpnsed ~C pr~ :~~n lives and concerns of people whom traditionalof them in the Bay Area. .r~ e ~ oice we make them an audience, creatingtheatre fails to repre~ent. By 9'vI~eo~ ~ a v ur ~ompanies address themselves to difnewaudiences for live theatre. ardadey, °the majority Separately our companiestti Together we a ress . , hferent commum res. . f' munity life for our different audiences. Toget er, wealreadyserveasfocal.pomtso com t lar er community. We look forward to a daywork to join our audlencles, ~~ cre~ ~:ate~ knowing they will see their lives reflectedwhen thousands of peop e WI pac ,there. d the class and community base for live theater;The goals of the PTC are:. to ~roa e~. . to produce an international cross-culturalto develop artistic an? techm~~lt~~~a ~~~~ for the people's theater movement in theexchange for ~e~ple s theat~~iC development of the PTC and its member groups.U.S.; and assist I~~e ~~~~ forums on culture, esthetics, politics, and policy. It ru~s. thePTC,also spon of d:amatic Arts, offering courses and workshops on playwntin~,People s School .. d· acting the one-person show, comedy techr»-script development, dlrecting'd eSlgn'tone ~usiC for the theater, physical comedy,t spoken an sung , PI'ques. movemen , . . . d booking and touring. It has sponsored the eop e stheater skills, theatre cnti~ISm, ~~ F stival Asian American Playwrights Series, andTheater Festival, the Na.ti°bna1ltyF,me t. e lPTe is a member of the Alliance for Culturalh P rf nce and Disa II esnvar. .. ftee orma I NAPNOC) California Theatre Council, Western Association 0Democra~y.(former Yand the National Assembly of Community Arts Agencies. It hasArts Admlnls~a~~~~se membership directory, a shared volunteer program, and a cendevelopedtral computenze-erizedmal.1. list PTe has also begun work on a Touring Resource Center109 I . . .d ors productions by visiting international companies.an ~tO~~Il_membershiP companies are: Asian America~ Theater C~mp.any; Ga~C 1/ nue. Lilith· A Woman's Theater' Make-A-Crrcus (a one-nng circus playTheater 0 eC~IU, . '.. T . Se P od ctionsin for children in low-income areas); San FranCISco Mime roupe, w r ,us~oWCaSing local black directors, actors, and plays); Tale Spinners (t~e ~ountry soldest~Ulti-generational, multi-ethnic theater company); and Theater UnlimIted (half of thecompany is developmentally disabled). bl 1AsSOCiate . Mem be rs 0 f PTC are· . Cultural Odyssey (a jazz-performance ensem e; .De1f'Arte (Commedia dell'arte); Teatro Gusto (Chicano ~nd Latino. ~omm~mt~theater); Teatro Latino (combining music, song, dance, slides,. and bl-hngu~hsm),Teens-N- Theater (multi-ethnic and bi~lingual teenagers pe~?rmlOg about .thelr o~nlives); Theater of Yugen (the ancient Japanese Kyogen tradItion); A Trau.elmg J~wlshTheater (drawing on story-telling traditions); Pickle Family Ci~cus (a.one-nng ~evlval ofEuropean circus forms); Common Threads (an eclectic, mu~tl~medla women s theatercompany); and Earnest Players (focusing on gay and women s Issues and those of othersexual minorities).Cultural Correspondence 139

SOUTHWESTS.F.-BAY AREAS.F.-BAY AREA SOUTHWESTPICKLE FAMILYCIRCUS400 MissouriSan Francisco, CA 94107Contact: Jo Sonn orZoe LeaderA one ring revival of Euro ean .fOI.r~s.Member of the People's ¥heateC"C cusa ition. r o-See also People's Theater Coalition.PLUTONIUM PLAYERS(also ladles againstwhomenand Reagan forS ah campaign)1600 Woolsey SI., #7Berkeley, CA 94703(415) 841-6500The Plutonium Players betheater task force of Sa F gan. as a streetnranCISCO People140 Cultural CorrespondenceAgainst Nuclear Power in 197mances included rallies and d 7 . Early p~rlorconferenceson Nip emonstrations,ucrear ow d Wpons and theatrt er an ee-• eatncal testimony at F d IE nergy Hearings Th e eraversatility so be ese events demandedcould be d we gan to create pieces thatone on stage h ilup or on ad' W I e a rockband setplcketlina airy crate with one mike at aThe next stage be .put together an hou ~an 10 1979, when we...for Bay Area p k r - °s~goutdoor free showar s. mea thdone several lange I en, we haveindoor theater p rf pays as park shows or inmeager budget ~h orman~es to sustain ourthe mainstay of ort, fleXiblepieces are stillour material Thzane speciality of th . e most bi-1980 when th PI e grOUP developed in' e utontum PI Ith e Reagan for Sh h ayers aunchedfunction as an in~it c:~paign, and began todemonstrations de guest disrupters" atan other events . Th e cam-~~ign involved us in an ever-expandingcoa.lition of endorsing groups like Mutant fR dt . E s oraa loactive nvironment, the Committee toWIntervene Anywhere'and Ladies Agamst.omen. Demand for participation fromth.ese groups forced us to create characters~th enou~h depth in the issue so they couldtmprov With political content as well ashumor.L~~ies Against Women has continued thistradition by disrupting (on cue) Berkeley'sWomen's Day, The Nevada Women's PoliticalCaucus, and other conferences andparades. Both Reagan for Shah and LadiesAgainst Women also do political satire bymail, sending "starter kits" to people all overthe country who want to throw a satiricalrally(Please enclose $5 for a starter kit).Current projects include the distribution ofa~ audiotape and a short film which we hope~IIIboth entertain and challenge our audience.Criticism and suggestions are always~elcome, and it wouldn't be ladylike to mentionmoney, but suffice it to say that we remain... a sheetrocktaper, a welfare reelpient,and four temporary office workers,several of whom are former waitresses.JAMES B. PRIGOFF1908 Filbert StreetSan Francisco, CA 94123(415) 346-2580 (H);544-8883 (0)Iam a mural afficionado/photographer/documenter of mural art, inner city decayand public protest.Traveling throughout the USA (andabroad) during the last five years, Ihave endeavoredto do a thorough job of photographicallydocumenting all murals found inmajor cities and other locations. As a connectinglink with muralists in many cities, ram able to share information on current activities.In San Francisco, I work closely withthe Community Murals Newsletter. A currentproject is documenting murals in Californiapenal institutions.I recently co-authored an article (withslides) for the West German "The OtherAmerica" show documenting mural art as itrelates to unions in the USA.PROCESSED WORLD55 Sutter St. #829San Francisco, CA 94104Processed World is an effort of love for abunch of information processors whovolunteer their time service and energy toproduce a journal fdr those ~ho work in thealienated world of trans-national hightechnology.It'sradical in form and content and addressesissuesthat few other publicationsdealwith.One reader (an Exxon employee)saidofProcessed World: ". .1realized thatyouare not a bunch of wild-eyed anarchists;yourreaders are sensitive, intelligent, articulatepeoplewho simply have the couragetosay what we all know to be true: thatworkingfor the establishment is boring anddemeaning, and that management is a closedsociety of bullshit artists conning theLA RAZA GRAPHICS3174Sixteenth StreetSan Francisco, CA 94103(415)863-5820Contact: Linda LuceroCENTER, INC.workers and the public. PW makes me realizethat my long-standing feelings of alienationand being exploited are shared by thousands(millions?) of others in thisgreatcountryof ours."As well as a great 'Letters' section, thereare articles and updates on worker's rights,fiction, and humor. Great graphics and anetworking page complete the issues whichare published about four times a year.La Raza Graphics Center was established in 1971 by a group of community organizerstoserve the community by using art as a means of communication and as a centerof art and culture.Since 1971, La Raza Graphics Center has grown from a small community silkscreenart workshop to a highly sophisticated graphic arts facility. The present goals of theCenter are as follows:• To facilitate communication between organizations and the community by providinglow-cost professional graphic arts services.• To provide on-the-job training in the graphic arts to community residents.• To provide an opportunity for local artists to develop their artistic skills and usethose skills to serve the community.• To develop the offset component as a self-sufficient project while continuing to offercommunity services such as job-training, art workshops, and special projects at a verylow cost or free to the community.• To encourage the building of leadership within the local Latino community.In pursuit of these goals, the Graphics Center has developed five components:1. Visual Media Center-The only graphic arts center in the San Francisco Bay areathat can handle design, Spanish and English typesetting, paste-up and silkscreen or offsetprinting.2. Skills Training Center-Training in all of the above skills.3. Economic Development Project-The Center seeks to achieve self~sufficiency; wehave been able to achieve partial economic independence.4. Community Arts Center-Staff and community artists make personal statem~ntsthrough artwork produced at the Center; we offer open classes in stlkscreen pn~t.making and life drawing; and the Center is an active participant in local and statewidearts consortia that promote and advance Latino artists.5. Organizing Component- We stay in touch with and support the work o~local andnational grassroots organizing efforts aimed towards social change, not only 10 culturalwork, but in housing, education, legal services, and economic dev~lopment. .Though it serves the entire Bay Area, the Center's roots are most firmly embedded Inthe Latino populated Mission District of San Francisco. The Center was founded by fourorganizers, all raised in the Mission District, who were acutely aware of the many pr~blemsof the local residents and recognized the need for the development of leadershipfrom within the community-a leadership which would apply itself to addressing t?eseproblems, including organizing residents to participate in finding sol~tions, .and activelyworking with other organizations and individuals towards progressive SOCialchange.The posters that have been produced at La Raza Graphics Center for,:" a hi~tOricalrecord of the celebrations, struggles and social movements of the commum~ ~unng thelast decade. Though the Center has grown since 1971, the fundamental ~nn~lpl~ uponwhich the Center started is the same and willcontinue to shape the Center s direction: tomake work for the good of the community, to let it enrich the lives of its residents by illuminatingthe past and paving the way towards the future.La Raza Graphics Center is a member organization of La Raza ~n Accion Local, acoalition of Spanish-speaking organizations serving the San FranCISCo Bay Area. Atpresent, the member organizations are: La Raza Information Center, Inc.; La RazaCentro Legal, Inc.; Housing Development and Neighborhood Preservation Corporation,Inc.; Mission Area Federal Credit Union; La Raza Tutorial Program; and La RazaGraphics Center, Inc.THE RED AUNTS2239 Channing WayBerkeley, CA 94704Contact: Stephen RonanRed Aunts is a songwriting/performingcollaboration of X-Burns and Stephen Ronan,specializing in agit-prop anti-Business/Government statements, often garbed asparodistic pop songs. Found sound andchance encounters play an important role intheir composition. Red Aunts perform atvarious Bay Area alternative music venuesand supply tapes to radio stations and otherforums.University of California radio stationKALX recently aired a Red Aunts rap tunewhich incited against a defeated attempt bythe school's regents to clamp down on thestation's anarchic playlist. As part of a PublicHearing, sponsored by Another Roommagazine at their headquarters in Oakland'sindustrial zone, Red Aunts' songs wereplayed through a rooftop sound system.The cops were called in by local businesspimps in response. Red Aunts intend to findoutlets for their music and ideas.LEONARD RIFASP.o. Box 40246San Francisco, CA 94140Designer and publisher of comic books.See: EDUCOMICSRUSSIANS498 Minna StreetSan Francisco, CA 94103(415) 777-2090Contact: Craig Baldwin•We work in film, video, performance, installation,sculpture, poster and xerox art,murals, music, poetry, and billboard alteration.We are more or less poor white exstudentsliving in lofts in working classneighborhoods on marginal incomes workingamong third-world support groups, thenon-dogmatic left, and autonomous youthcells.Formed more or less spontaneously ... Nofelt division between political and artistic discourses.Allied with A.D.M.A.D.-Artists'Defense Against Madison Avenue Decadence.Cultural Correspondence 141

SOUTHWESTS.F.-BAY AREAS.F.-BAY AREASOUTHWESTTHE SAN FRANCISCO MIME TROUPE855 Treat StreetSan Francisco, CA 9411 0(415) 285-1717Contact: Robin KnowltonThe San Francisco Mime Troupe is America's best-known and longest-runningtheater of political comedy. The Troupe's plays-about major issues of our tim~-a~eextremely vocal and packed with music, dancing and orginal songs. Tounng In1984-85 will be STEELTOWN, a full-length musical on the theme of plant closuresand the de-industrialization of America.For more than 20 years, the San Francisco Mime Troupe has worked to make atruly popular theater.At home in San Francisco we go into the parks each summer: set up a stage, makemusic, perform a play. And then pass the hat. To survive, we have had to learn howto hold and please an audience.In making our plays, we choose familiar forms: one year a melodrama, the next aspy thriller or western or musical comedy or even a comic strip. We look for topics ofpopular concern: race, the price of beans, unequal pay, unequal work, foreignpolicy, the "New Right," and more.Despite this variety, there are strong similarities: All our plays are political plays,portraying the ways people deal with the economic, social, and political forcesaround them; they are plays that protest the ways people and governments abusepeople.But most of all, our plays make people laugh. We believe laughter is the sound ofhope, that humor provides distance and that distance brings understanding.We try to reflect and speak to our audience in one more important way: we are amulti-racial company. We think a multi-racial country needs a multi-racial culture.Our experience and flavor seems to travel well-since 1966 we have played inhundreds of cities and towns across the United States, in half a dozen Europeancountries, in Canada, Mexico, and Cuba. And people keep asking us back.Since 1959, the San Francisco Mime Troupe has survived and thrived on the generosityof its audience. Those who come to watch us provide encouragement (andcriticism) and, not least, see to it that some 80 percent of our income comes directlyfrom our work as performers.SAN FRANCISCOPOSTER BRIGADE!INTERNATIONALISTARTP>O>Box 31428San Francisco, CA 94131Work: Poster design, organizing internationalexhibits, lectures, billboards, audiovisualpresentations, block printing. Community:diverse. History: Our group wasformed by artists who wanted to make publicart as an expression of political sentiment. Wework in association with many politicalgroups/issues.Our hopes: to become solvent.Special interest peopleWorking conditions: cramped.-,_ ..SEW PRODUCTIONS2186 Busy StreetSan Francisco, CA 94115Contact: Stanley Williamsor Quentin EasterSew Productions showscases local blackdirectors, actors, and playwrights. Memberof the People's Theater Coalition.See also People's Theater Coalition.SLEEPING DOGSPO Box 21208San Francisco, CA 94121Contact: Deonne KingSleeping Dogs: band based in San Francisco.Five-track single on Crass Records.Sleeping Dogs: Collage Magazine. Bothavailable from Rough Trade in San Francisco.Video entitled "Don't Believe Them."Collection of political writing, poemsgraphics entitled "Final morning extra."SOLIDARITYMURALPROJECT723 Shotwell StreetSan Francisco, CA 94110Contact: Mike MosherImages of Karl Marx and Leonid Breahnev,Polish workers and peasants holdingup revolutionary signs, and war tanks andcannons are the focus of the SolidarityMural, a collective effort by five San Franciscoartists who are concerned with the workers'labor movement in Poland. Inspired bysome Solidarity graphics published in ArtForum magazine, the group of "independentleftists" decided to paint a portablemural which would be a social commentaryon events surrounding the freedom struggleagainst martial law in Poland. The result wasa 6 x 15 foot un stretched canvas painted inacrylic-images of a movement slugging itout on canvas.The Mural is available for exhibition inbookstores, libraries, or union halls.Solidarity Mural project consists of MikeMosher, David Pingitore, Janice Rothstein,Diana Rossie, and Tom Zahuaranec.TEATROGUSTO1077 Treat StreetSan Francisco, CA 94110Contact: Herbert SiquenzaChicano and Latino community theater.Member of the People's Theater Coalition.See also People's Theater Coalition.TELE TIMESc/o Bruce N. DuncanBerkeley Inn Hotel, Room 4142501 Haste StreetBerkeley, CA 94704(415) 845-6370, Room 414Tele Times published and edited by BruceN. Duncan, is,TelegraphAv~nues' tight-#21,httlemagazine~street life, corrucs. etc23-30, $2.00 ea. For more informa ṫi on, seealso: Bruce N. Duncan."Salsa Ahara"San FranciSCO:See' co mmunIty> I Magazine.Mura sOF THE BAY AREATHEATRE COMMUNICATIONS CENTER ~(TCCBA) ~2940 16th Street, Suite 102 > gSan Francisco, CA 94103(415) 621-0427Contact: Misha Berson, Executive Director. anization serving the San Francis.coTCCBA is a membership theatre servlc~ or~heatre students, and interested 10-Bay Area theatre companies, th~atre artists, Directory of the Bay Area 1983-84, adividuals and institutions. We pubhsh -uncSr uide to theatre and dance forcomprehensive resource directory; Yo~ng tadgbes'k a gvised yearly; and the monthlyjP bl >t media han 00locel youtb.Sources o u ICly,a A TheatrereAlliance, a70->meqaatne Call Board. The Bay rea izatlon and works on projects oftheatre company consortium, is part of'lo~i:;~~~~~rogra'm, college internship promutualinterest to many groups: a retat 1 900 individual members have access ~o agram, joint advocacy, etc. Our more th~~ '. talent bank job files, and other trngrouphealth insurance plan, group ere It Union, d workshops on topics of cooportantinformation. We also present confer~nces anlocal and national advocacy forcern, including issues reI atinq > t0 tec hnical assistance,.theatre, and artistic sharing. . . t the vital Bay Area scene to mterestedOur goal is to disseminate Information abou Issuesin the building of a strong,parties, and to respond to immed~ate and lo~gt~a~i~::se audiences in our six-countydynamic theatre community which appea s . t and support, and that theatrearea. Realizing that theatre workers need ~SSISneed to share resources and addressI t rvtve)companies (many of them strugg ingnee f >>0 su h to the needs and uture VISIonjoint concerns, the staff at TCCBA res ponds very mucof our members. . vices design helpful new ones, increas:In the future we hope to contmue our ser hrou h Bay Area Theatre Week, ~ festipublicawareness of and sup~ort for th:atre f(~983~ and help build a theatrical mdus~val-type promotion initiat~d m the sprm~o~s and b~nefits for the many talented theatry in the Bay Area that Will create more Jtre workers residing here.THEATRE UNLIMITEDSan Francisco RecreationCenter for theHandicapped, I'lc>207 Skyline BoulevardSan Francisco, CA 94132(415) 665-4100Contact: Herb Felsenfeld,Managing DirectorWe do theatre with disabled and non kdisabled people together. That's the worwe do and the work we:d like to do. Wewould'like to be part of a movement for. . d cultural work with disabledcreativltYWan Id also like to distributePeople e wou I)matenars> >1 (wnOttenand audto-vtsuaWonhourk ith adults and children. eavewm WI df ~som~ are I ady' , there is a nee or mum~~~community we serve is really sever~1communities-Disabled people and th:lrfriends/acquaintances/supporters and m-terested professionals. We al~o serve thoseIe >,ntheir 30's and 40 s, who werepeop > d dculturally and politically active a eca e ormore, ago and who now may have>hgone onIIto more prosaic pursuits. ';Je give t. em.aan idea, a taste, of what it s like to hve WIthrisks-to take them on-e-to succeed orfailandto land on your feet. ..The group was formed from the VISionofone man, David Morgan'and he in turn h wasfnurtured and inspired by the atmosp ere 0the San Francisco Recreation Center for th~Handicapped. The Center was foundeover 30 years ago by Janet Pomeroy a.ndhas remained in the forefront of innovativerograms for disabled persons. . " ..p We don't work in associati.o~ With poh!l-I issues" because politics IS Imbedded 10thecafabric of our everydayactivttIVIes.We walkbliinto a restaurant, or a motel, or a pu IClace-and immediately we are a force. forinfluenCing attitudes and developinqh The issues that we work on-e-beingc ange. db' nondisabledin this society, an ~mg a. bldisabled person who is joined .wlth a dtsa -ed person In > some way-are highly chargedand have deep political resonances. ntWe hope to grow and prosper. We wato be connected with other artis~s who areki in the field We would like to prewar10g I . hons !sent our performances and works ops,;;nmore places throughout the w~rld. ewould like to have the technical skills to de-I administrative support structureveop an flc >h dthat would allow our artists to ouns ,anwe would like to make the world safe forthose artists.THEATEROF YUGENPO Box 6148San Francisco, CA 94101Performs in the ancient Japanese Kyogentradition. Member of the People's TheaterCoalition. C I>>See also People's Theater oa Ition.142 Cultural CorrespondenceCultural Correspondence 143

SOUTHWESTS.F.-BAY AREACALIFORNIASOUTHWESTA TRAVELING JEWISH THEATREPO Box 421985San Francisco, CA 94142-1985(415) 441-1199Contact: Debra J. Crane, Administrative DirectorAT JT began in 1978, in Los Angeles. It began out of a desire to give theatrical formto various streams of visionary experience that run, sometimes underground, throughJewish history and imagination.Although A TJT works with traditional sources, it does so in an innovative way.The streams of theatrical experimentation that nourish the company have existedwhenever there have been actors, writers, directors and designers who have soughtalternatives to a theatre that is commercial, hierarchical and empty of meaning. ATJT is a functioning theatre collective, committed to the democratization of art and toworking from the deepest places they can.The context of the work can be characterized in several ways. First, a recognitionthat the roots of theatre lie in the realm of the mythic, the sacred and communal; thattheatre can be an instrument of healing for people and cultures. Second, a willingnessto enter unknown areas and to allow form to grow organically rather than by imposedprograms; to develop, in this way, a theatrical vocabulary of the widest possible rangeand power. Third, an appreciation of the rigorous discipline essential to the creationand performance of this kind of theatre. Fourth, a commitment to working collaboretivelywithout rigid role distinctions.Finally, this context is shaped by an intention to maintain the accessibility of thework. The stages of development of our work always include a period of open rehearsalduring which the audiences are encouraged to share their responses. This iscentral to our work. Our work is only fully realized when it is shared.Company activities include: Performing our permanent repertory (3 pieces todate); touring the U.S., Europe and Israel on a regular basis; teaching numerousworkshops in theatre craft and general skills for living; sponsoring like-minded artistsin the San Francisco Bay Area; and of course, we are continually developing newpieces, each taking approximately 18 months to develop.A Traveling Jewish Theatre is also a mamber of the People's Theatre Coalition, theBay Area Theatre Alliance, and NAPOC.From Coming From a Great Distance, by A Traveling Jewish Theatre.144 CulturalCorrespondenceTWISTED IMAGE2501 Haste StreetBerkeley, CA 94704(415) 845-6370, Room 414Ace Backword's Berkeley zine. Letters,comics, interviews, articles, punk, sex. Creativenewspaper-style publication about certainthemes of the times. #1-4, $1.00 ea.See also: Bruce N. DuncanWAJUMBE CULTURALINSTITUTION762 Fulton StreetSan Francisco, CA 94102(415) 563-3519Wajumbe Cultural Institution began in thelate sixties as a small group of performerswith a focus on presenting cultural performancesto which the black community couldrelate positively. Wajumbe has since growninto a full cultural ensemble with a programbased on the Afrikan philosophy of art as lifeand life as art.The membership of Wajumbe reflects across-section of the local black community:the young and the not so young, professionaland blue collar workers, and so on.The founder and director is Noutsizi Cayou.WALLFLOWER ORDERP.O. Box 3549 ~ ...\... .J rBerkeley, CA 94703 ,(415) 644-0230\Wallflower Order, a nationally acclaimedwomen's dance theatre collective, wasformed in 1975 to express political perspectivesof the feminist movement through expressionsof their own personal stories a.ndcontemporary writing. Composed of h~~women, Lyn Neeley, Pamela Gray, Sue JBranfman, Nina Fichter, and Krissy Keef~~,Wallflower is committed to provr 'd' 10g pollticalculture of high artistic quality t.hatbroadens polltlca .. I awareness an d inspiressocial action.isAlthough the group's primary art form.dance they also mcorpora . te the atre , mUSIC, .comedy,martial arts and sign- Ianguage IOtaItheir work ' to create mu It' 1-d'mensionaI Thpieces of strong ernotiona. I'pactrm . hethemes of Wallflower's dances ove~ :h:years have reflected and challenge1 . nging fromsocial movements 0 our time, ~a . h thefeminist themes to issues dealing Wit. Id . ternahonasurvival of the planet a~ . In d oliticalliberation struggles. The artistlc an P _impact of the group. id d m nume rIS eVI ence 1 K' 51'5. rf esmeous reviews of their pe ~rm~~~W~11flowerof Vancouver, B.C. writes:Order makes us laugh, they bring us totears, they prepare us to fight." And fromSeattle, Plexus notes: "Part of WallflowerOrder's immense appeal lies in their abilityto convince us that we, too, are travelerswith them on a journey towards a new visionof self and society." (see article in CC'sWinter '83, page 26)Wallflower has toured extensively, performingat numerous benefits, rallies, colleges,and festivals throughout the UnitedStates, Canada and Latin America. Overthe years the group has been recognizedwith grants from Oregon Arts Commission,McKenzie River Gathering, Eugene CommunityFund, New England HaymarketFund and choreography awards from theFord Foundation, and the National Endowmentfor the Arts. The Collective is availablefor performances, workshops, and residencies.RANDOM LENGTHSPO Box 731San Pedro, CA 90773Random Lengths is a free speech communitypaper that presents issues from alternativeperspectives not commonly found inthe regular print media. We openly solicit articlesfrom all people in the community.While we may not necessarily agree with allthe opinions of contributing writers, we supporttheir right to express those opinions.All editorial decisions are made collectivelyby the editorial board. Financial supportcomes from subscriber contributionsand advertising. We have no government orfoundation grants, and we have no ties topolitical candidates or parties.EL TEATRO DE LAESPERANZAP.O. Box 1508Santa Barbara, CA 93102(805) 962-5051Twelve years of performing experience,successful national and international tours,original collectively written plays of profoundsocial significance are all part of theproud history of EI Teatro De La Esperanza-The Theater 01 Hope.Esperanza's unique performing style bringsto the stage a theater that is both sociallymeaningful and at the same time artistic andentertaining.Esperanza is bilingual, yet more than bilingual,having achieved a unique blend oflanguage that allows all audiences to comprehendand enjoy a humor, warmth, andmusicality that are universal.We offer workshops for both novices andprofessionals, as well as an interchange ofideas and techniques with theater groupsbased in local communities we are workingwith. Our repertoire includes:• Y La Muerte Viene Cantando (And TheDead Come Singing)-An exciting collageof music, dance and drama, depicting thelegacy of the struggle, survival and triumphof the Chicano/Mejicano people. It alsochronicles the influence of la mujer (woman),and her contributions to the emancipationof the Americas.• Musica De Las Americas (Music of theAmericas) -A Concert show offering a panoramicoverview of the music and lyrics ofthe Latin-American culture.• Shutdown (Work-in-Progress) -Ournewest play is a highly stylized vision of thesocio-economic conditions in the U.S.A.SANTA BARBARAARTS SERVICES522 N. Salsipuedes St.Santa Barbara, CA 93103(805) 963-8654Contact: Gary SampsonSanta Barbara Arts Services ia a non-profitadvisory and support service for communitybasedarts projects along the Central CaliforniaCoast. Provides information, advice,training and support service in funding, planning,public relations, and outreach. Workswith individual artists and small groups. Particularlyinterested in arts projects dealingwith social change issues. Also can providehard services such as typesetting, non-profitumbrella, mailing address, and printing.NATIONAL FESTIVAL tileOF WOMEN'S THEATRE ~P.O. Box 1222Santa Cruz, CA 95601(408) 458-3195Contact: Donna ZavadaThe Festival was conceived in 1981 bywomen active in the Santa Cruz theatre communityto address the portrayal and participationof women in the theater in thiscountry. The Festival is under the sponsorshipof Resources for Women, a non-profitcorporation formed in 1977 for the purposeof promoting the advancement of women inour culture. The first festival was held in1983. It was a week-long series of 45 performancesand 25 workshops, representing adiversity of themes and perspectives thatcreated an entertaining, Instqhtful andthrought-provoking cultural event.The place of women in our society is rapidlychanging, creating much confusion anddebate around the sphere of women's activities.In response to this and to the gaps existingin traditional theatre, well over 600women's theater grops have emerged overthe last decade. These artists are striving tocreate a more accurate portrayal of women'slives, and their work provides a contrast tothe stereotypical roles portrayed in commercialtheatre. The purpose of the Festival is toexpand the public's understanding of women'slives and to promote the support andcontinuing development of women's theatreas a significant cultural movement.The Festival is administered by a coordinatingcommittee composed of women notedfor their work in theatre and in the Santa Cruzcommunity. Work is now proceeding onFestival '84.Cultural Correspondence 145

SOUTHWEST CA. NM. IX.DEENA METZGER20666 Calion DriveTopanga, CA 90290Writer/Therapist. Books include: TheWoman Who Slept With Men to Take theWar Out of Them, a novel; Tree, novei/journal on Cancer, politics, community,and healing; The Book of Hags, a radioplay; Dreams Against the State, a play.I write about and am concerned with LatinAmerica, women's culture, political andspiritual consciousness. Work as a therapist-developed "Healing Stories" to addressthe relationship between creativity and healingin life threatening diseases.INSTITUTE OFAMERICAN INDIANARTS MUSEUMclo College of Santa Fe51. MichaelsDrive Santa Fe, NM87501(505) 988-6281/6240The Institute of American Indian Arts.(IAIA)ser~es the Native American communlt~as a national arts and cultural institution ofhigher education. Our programs include instruct~onal~rograms in museum ,training,tech~lcal assistance and training services involvingo~-campus and outreach programs,cooper~tJve programs involving nationalcon~ortlUm relationships, and cultural studiesI~admg to utilization of the arts in an educationalc~ncept and methodology.The biggest contribution I believe we couldo~e~ to the directory would be the fact thatthis IS the only major museum in the h IUnited States that has a major collect:n 0 o~~ogra~ from the National Festival ofomen s Theatre; see previous page.so-called arts activism and/or protest artdating from the early 60's up until the present.We had an exhibit two years ago titled"Protest Art" which included a vast collectionof never-before-seen protest art, beginningwith work dating back to the early FritzScholder years and before, all the way up to1976 and 1980.This is a major collection of "protest art";~o~eday we hope to publish a directoryHstinq many of these artists who have contributedsuch a great deal to this particularmovement in our history.G.I.N.(GET INVOLVED NOW)FOUNDATION5911 Beldart StreetHouston, TX 77033JAMES WALTMAN#283751Huntsville Unit, Box 32Huntsville, TX 77340D I am currently incarcerated in the Texasep~rtment of Corrections and am a cartoonl'lst ,and comix artist. At this point I amsma time but am tr . 'field f ' . ymg to succeed in thea cartooning and comic artSome of my ."M kt W current work: solos calleda 109 aves" and "Baby Fat" b th fwhich have been bl! ,0 0World" B k pu ished by "Comix•10 er eley,.CA These two smallCormcs are part fundergrou d a ~ new-wave trend in thetacted h n corrux world. I can be conere,or if I g t 'available at P.O B ~ out soon, I II beTX 78201. . ox 535, San Antonio,ALTERNATIVE INFORMATIONNETWORKP.O. Box 7279Austin, TX 78712(512) 453-4894contact; Mike Jankowski•Our non-profit group produces Alter.native Views, a progressive public affairstelevision program. We work with individualsand community groups to presentto the television-viewing public newsdocumentaries, interviews and popular artgenerally not available through the massmedia. Alternative Views is aired twice awe~k on Austin Community Television,which operates two public access cablechan~els in Austin. Over 98,000subscnbers and 200,00 viewers can bereached via these public access channels ..We operate on a shoestring budget and,unfortunately, cannot afford to purchase orrent films or videotapes to air on our programs.However, we often televise outsidetapes, films, and slideshows which are offeredto us by groups who wish todisseminate their programs to the largecable television-viewing audience in Austin.We invite individuals and groups who areinterested in televising their works in Austinto contact us, providing some backgroundon the individual's or group's work alongwith a description of the work or works theyare interested in televising via Austin Com'munity Television.Examples of popular art televised onAlternative Views include: "Other BlackVoices" (#152); "An Informal EveningwithCharlie King (#120); "Ben Sargent: ThePopulist Cartoonist (#149); "An Eveningwith Esther's Follies." The numbers followingthe listing refer to item listings in theAlternative Views program catalog, whichincludes (in addition to program listings)background information on the series andnews clippings on the program. This catalogis available for purchase.WOMEN & THEIRWORK, INC.2330 GuadalupeAustin, TX 78705(512) 477-1064Contact: Seanna Wray orSanta BarrazaWomen & Their Work is a multi-disciplinaryarts organization based in Austin andactive statewide. Our emphasis is on thework of women and emerging artists fro~Texas and the Southwest. Women & TheirWork presents visual arts (including photography,sculpture, pottery, painting, etc.~;performance arts, dance, music, and hosworkshops on art and artists.INTERNATIONAL,1. From Open Head Arts; Athens,Greece .. _2. "Ani Mundi II," by CarstenSvennson, from Dunganon; Sweden ... 3.From Open Head Arts ... 4. From Draka-'bygget; Sweden ... 5. From the A. Gallery;Thision, Greece.International:Networking: People to People Connections.146 Cultural CorrespondenceCultural Correspondence 147

\INTERNATIONALBILL CURRYBox 909 WynyardSaskatchewan, CanadaSOA4TODevelopment/ disarmament/peacelhealth education. Shorthand =WHOLEMEDIA. Choosing and combining appropriatecommunication/cultural tools forcombined and inter-related topics andissues, with justice and wholeness as goaland methodology.Personal bias to print, e.g. poems, andlive combinations e.g. music, food andballoons. Prairie bioregion focus =PRAIRIE WHOLE globalocal home.Most recently doing peace media; justedited special issue: CV III - ContemporaryVerse (CDN Peace Poetry) Winnipeg,Manitoba.FINAL NOTICEPRODUCTIONS3227 E. 29th AvenueVancouver, British ColumbiaCanadaContact: Dave Lester andMarian LydbrookeWe are two cartoonists, Dave Lester andMarian Lydbrooke, who share a commondesire to create artworks that would be ofuse to political groups and publications. Alot of our cartooms deal with sexual politics,an area we feel is vital to any major changein society.We have created and printed our ownpublications and have also designed andpasted-up posters for groups that have contactedus. Our cartoons have been printedall over the world and have appeared in exhibitions.FUSE MAGAZINEAnon's PublishingSuite 202379 Adelaide Street WestToronto, Ontario Canada M5V ISS(416) 368-6227Contact: Joyce Mason, Managing EditorFUSE magazine is published five times ayear (with one double issue in the summer).It is a cultural newsmagazine which offers reviews,features and analysis of cultural production:films, poetry, video, music, literature,the media, performance, theatre, architecture,photography, and the context inwhich is it produced. The magazine is producedby active cultural workers and producerswith a commitment to independentproduction and social/political issues.Although its primary focus is Canadianculture, FUSE often prints articles aboutgroups, performances, and exhibits in theU.S. It also deals with progressive culturalevents in French-speaking Canada, Eng.land, and Australia.148 CulturalCorrespondence'CANADAIDERA (INTERNATIONAL DEVELOPMENT EDUCATION ~RESOURCES ASSOCIATION) FILMS •• ~2524 Cypress Street ,. _.JVancouver, BC, ~ _,.,Canada V6J3N2 r.(602) 732-1496contact: Carol RuBlackIDERA Films is part of the International Development Education ResourcesAssociation, a non-profit educational resources association established in British Columbiain 1974. We distribute over 200 audio-visual resources includin 16mm filmVideo, and slide-tape programmes to educational institutions, trade unions women'sorganizations, and community and solidarity groups. We have Canada's most comprehensiveSouthern Africa film collection as well as numerous other films on theThird World (with special emphasis on Central America), women, labour struggles,and the new technology. Our aim has been primarily eduational and activist in ourconcern with the dissemination of radical film and an alternative media culture. Initiallywe distributed mostly short documentaries but are now distributing a greaternumber of do~~mentary features and are presently in the process of acquiring indep~nd~ntpolitical feature-length dramatic narratives. We are always interested inprevrewtnq new ~aterial ~nd encourage independent film and video producers tocontact us regardmg possible distribution of their work.. As well as our film distribution work we have produced the IDERA Clipping Ser-VIC~,a quarterly pUb~ication which provides up-to-date news and analysis of political,~C1al, and economic developments since 1980. We also operate a non-lendinghbrary and a clippinq retrieval system which is available for public use.By Sue Coe, from Incite.',. Ithe e--VICII,'INCITE379 Adelaide Street WestSuite 301Toronto, OntarioM5V IS5 Canada(416) 362-0371Contact: Heather Allin'. i!(1./" ~'.'7 -,.

INTERNATIONAL C.A. S.A. U.K.SOLIDARTEAmerica 232-A-4Delegacion Coyoacan04040-Mexico D.F.MexicoA mail artists group in Mexico which supportsthe peace and disarmament movements.NICARAGUANCULTURAL GROUPSsee article on pageLUISCaixa Postal 17988350 Brusque-SCBrasilMail Artist, since April, 1978.FIVE YEARS OF MAIL ART -83I'm against nuclear power ..I'm against military dictatorship.I'm against racial discrimination.I'm against the mail art exhibits that requiremoney in exchange for catalog.I like free art, etc.ARCHWAY ROADMOVIE GROUP486 Archway RoadLondon N.6. England01-341-4322. The Archway Road Movie Group conslstsof 23 people, including a Productionteam of 13, and was formed from a publicmeet~ng ,attended by over 70. The publicmeetmg In May, 1982, which was called toform the Group, was requested by themeeting to produce a strong campaigningfilm to inform the local community of thedangers and lack of necessity for furthermotorway building in London. (ArchwayRoad is the route taken by trucks from thesouthern ports to the North and back againand by one-driver car commuters in and outof ~~ntral London. Sensible transportpol.lc.les negate these practices but thepohcle~ are prevented by reactionary lawsand pn~ate profit versus public transport.SuccessIve governments have held th, blic' reepu IC inquiries into the road building~chemes and have been more strongly rejectedby the public each time. The area hasbeen deliberately run-down by the Departmen~of the Environment and a transient orpassive population created. They now intendto hold a fourth 'public' inquiry.) Wehave completed one 25-minute 'NEWS-REEL.ONE-THE BUILD-UP' IorIocaIscreenings (very well received) and free hire~om I~al video stores. We are now workmgon NEWSREEL TWO-THE PUBLIC150 Cultural CorrespondenceEDITIONS BUTO SAHO ~c/o Mark Pawson1 Holly BankCherry Lane, LymmChesire WA13 ONTENGLAND. Editions Buto Saho is a mail art producho~cent~r run by Mark Pawson. All sorts ofmall art 1S produced and distributed fromxerox postcards to "edition eat-arta edible"an edition which includes edible co~ponents.Blood tests, artburgers, 0-0gl.asses, and other mixures of flat and threedimensional art come from Editions ButoSaho. If a shirt is sent in (with a fee) it will be~e~,urned with "a stunning design ~dded toIt. . Everyting comes decorated with someumque rubber stamps.. Send 100 8" x 11' contributions lor anyglve~ month of the Editions calendar, andrecel~e construction kits. Write for whats onfor this year."~ditions Buto Saho proudly announcesthe mtroduction of its 'chain letter terminationcentre' send all those 'blind circulation'chain letters to us for destruction -a serviceto all mailartists!"THE MENARD PRESS8 The OaksWoodside AvenueLondon N12 8AREnglandContact: Anthony Rudolph, EditorThe Menard Press is an anti-nuclear press.Their publications include, among others,The Singing Man My Father Gave Me, abook 01 poems by Edward Mycuse.RACE TODAY165 Railton RoadLondon, SE24 OLUEnglandRace Today is a bi-montly publicationwith news and analyses of events of inter~stto African and West Indian communities Inthe United Kingdom. Race Today has coverageof events in the Caribbean, Asia, Africaand Black America with reviews,books, plays, films, and records. Our rapidIy growing readership spans both the ~Iac kand white community, includes SOCially,politically, and cultural alert sections of ~hecommunity. Seven years of publication(print run 10,000) have fashioned anestablished readership.ANTHONY RUDOLF8 The OaksWoodside AvenueLondon N12 8AREnglandEUROPE- .Anthony Rudolf is editor of The MenardPress, an anti-nuclear press.BORIS NIESLONYOberbilkerallee 3104 Dusseldorf 1West GermanyNieslcny is a visual artist and part of an internationalgroup of artists called "K 11"whose other members are Peter Bender,Jurgen Raap, and Bernhard Schwarz. Netslonywrites: The basic consensus of "K 11"shall be worked out by a continuous ex-'~;"lchange of information and materials. TheYOUNG GODSc/o Peter Htess ~ ~ first Konzil met in 1981. There was anotherKlosterneuburgerstr.99/4/5meeting in Hamburg in 1982 and another is1200 Wein, Osterriechplanned for 1983. These meetings and exchangesallow different working groups allAUSTRAtel. Vienna 35 51 20having to do with interdisciplinary, hi-tech,"Young Gods" supports the distributionof independent products. You can get themall at this address, but you can also get in directtouch with the artists/producers.Nekrophile Rekords, P.O. Box 79,1080Vienna.Dum-Dum Records, Opernring 1, 1010Vienna.Kripps, c/o Alexander Kleedorfer,Strausengasse 5, 1050 Vienna.Magen Darm Trakt, c/o Fritz Widhalm,Wallensteinstr. 46/27, 1200 Vienna.We are of course interested in any order,but also in each kind of correspondence andcontact. (Please write in any case, even ifyou don't order something, but want tohave more information, which will be issuedperiodically. If you can read and understandGerman, write also for the "Young Gods"book list!)Exchange with other products is also verywelcome, but please only after previous inquiryand information.Please send addresses of any kind, ofpeople who produce things themselves, ofpeople who may be interested or eventuallyinteresting, etc.Graphic from Young Gods.and continuity of motion; direction, personalexpression, and private obsessions;and finally themes of general interest.KUNOLDSTRASSE 343S00 KasselBR.DTel.: 0561/311443contact: Jurgen O. ObrichINTERNATIONALMICHAELGROSCHOPPWernigerorder Str. 443015 Magdeburg, DDRpARTner + ART in CONTACT as AC-TION FOR PEACE and understanding overfrontiers + michael groschoppMail art around the world.By Ed VogelsangThe artspace =:.: livingspace: Kunoldstr. 34 is an artist-self-.organization ~ow r~nningin its fifth year. The working artist is able to use all rooms In the house {includingWC ,salrcas, tal es garden ," etc) as well as living in the house. The whole house IS used .. th a tist's process and the works are left where they are in the house. There IS noIn e r " k" th I Itprotection of the works and the following artist has to war .on fe lie °t·v~t~s. ithA box in an edition of 20 is made every year as a documentation 0 a ac IVI res WIartworks by the participating artists. Every artist receives such a box and suggests peoplefor the other boxes. . ..Since its beginning there have been shows/works by more than 33 individual art.. t nd the following group shows: Zusammenarteit, three days of four German and~~~~~talian artists; A la carte, postcard show of one year's mail ~rtcards; Doku~ente,100 ti t working on 100 following days; Stopped Chainletters. collection ofchalnletters stopped over the years; The Household Show, daily life as a changi~gsituation. Permanent Exhibits: Archive of Lost Information, ~ver 40,000 fotocoptesfound and collected which don't carry any readable information anymore; ~nd TheSmall Frame Table Gallery, a gallery containing more than 540 works of artists from27 countries, which fits on every table.ED VOGELSANGc/o Fritz BalthausBehaimstrase 81000 Berlin 10, West Germany(030) 341-3586Projects of own accord y initiation ; Ipublish and prepare projects independently.I'd like to do the same work with a littlemore money. My audience? I'm a monomaniac.My group was formed the same way Iwas formed: myself as a person. I'm openfor collaborative projects, I suppose, thoughI don't work with any specific politicalgroups. As for hopes and interests, ask melater.Cultural Correspondence 151

INTERNATIONALEUROPEEUROPEINTERNATIONALALTERNATIVE GALLERYVGR, P.O. Box 2003711810 Athens, GreeceA year ago, four young persons from the Thision area (near the Acropolis in Athens)came together to form an initiative for the creation of an alternative youth center, witha place for meetings, music "jams," exhibitions, and a library and documentationcenter. The latter was to include materials (books, periodicals, posters, etc.) on suchsubjects as: anarchism, feminism, alternative life styles, rock-jazz blues, liberatingarts, ecology, antimilitarism, peace, and subcultures.Because of the many financial problems, they weren't able to obtain a place to rooftheir center and as an alternative "spread the word" action, started working as a documentationcenter. Anyone interested in the mentioned subjects received free xeroxeddocumentation. The archives were complied by the contributions of various localfriends and comrades who kept personal archives but mainly through the responseworldwide to an international appeal for help in the summer of 1982.The project worked quite well, sending Greek material or xeroxed documentationabroad and receiving contributions from around the world-an effort which sought tonetwork the whole international movement.Unfortunately, the project suffered numerous attacks by enemies and "friends"which managed to disillusion its members and sympathizers, causing a split and totalfreeze of all activities in March of 1983.Now, there is a new attempt to re-organize the project, find a place and start themailings again. If you have materials (publications, artworks, posters, leaflets, manifestos,etc.) which you would like included in the archives of the Alternative Gallery,please forward them to our office. At the same address, you can contact a related projecton mail art (refer to Open Head Arts on the envelope). Just send 60 copies ofyour artwork (free size, media) and the complete volume of the final compilation willbe sent to every participant. The subject for volume #2 is OUTLAWSl "When freedomis outlawed, only the outlaws shall be free" and #3 is SEX ARTCORE IM-AGES-"What do you see in your erotic dreams."AMAZON ARCHIVESee Ruggero MaggiROBERTO 2ITO00156 RomaVia Capistrello, 12ItalyPainter, engraver, ceramist, scenographer,off theatre actor, etc. etc. He was bornin Palermo, Sicily; when he was 6 years oldhe saved a laundry woman who was drowning.At 18 he saved a little ship. At 29 hewent to Rome: by himself.Send back the envelope in which r sentyou this "Ltvinq Room exhibition" with writtenor graphic material on the same envelopeand answer the following questions: (.)1) What was the last visual art exhibitionyou saw?2) What will art be in 2500?3) What do you think of Mail art?Hoping not to lose contact. Send messages,works, anything you want to:INTERNATIONALHISTORICAL ARCHIVESAGENCYN1 c/o Roberto Zito'RUGGERO MAGGIC.SOSempione 6720149 Milano, Italyand am closely affiliated with the BauhausSituationiste. Some of the collectives thatpublish surrealist work are: Dunganon Medusa,and Skruggbud. 'DRAKABYGGETc/o Edition BauhausSituationistsDrakabyggets kollektivverkstad28600 OrkelljungaSverige, SWEDENDrakabygget is a magazine for art, againstatom bombs, popes, and politician. It is connectedto le Bauhaus Situationiste- The InternationalWorkshop Movement inEurope, U.S.A., Mexico, and Japan. Wewere sent a copy of this multi-lingual visuallydynamic magazine by our Swedish internationalsurrealist contact, Tony Pusey-seeseparate listing. It contains articles, poems,graphics, and page art in several languages,including Swedish, French, and English."ImmaculateConception" by Tony PuseyDUNGANONc/o Tony PuseyOtto Stenbocks Vag 828600 OrkeljungaSwedenDunganon is an anthology of work byScandinavian surrealists and friends fromthe international Movement Phases and theBauhaus Situationiste.We intend to pursue the surrealist project,we affirm our faith in the surrealist revolt'scontinued trajectory, in its continued relevance-sincesurrealism was never born Itcannot die. We salute our comrades in theInternational Movement Phases and all ourfriends in the "post surrealist underground"and all those in the new autonomous proletariatwho are struggling to transform life inthe here and now.A. GALLERYP.O. Box 1937Thision, AthensGREECEDuring the first months of 1982, a small group of Greek comrades who weresearching for documentation of the early twentieth century Greek Anarchist Movementbegan to compile an archive of anti-authoritarian material from around theworld. The idea was to house A. Gallery in a large, multi-media cultural center for theAnarchist movement.Money was limited, and we were only able to pay the postage expenses needed tocontact other groups from around the world. After three months, the money ran out,but the material started corning in. Local comrades had also donated personal archives.Until we can fund our multi-media center, we are operating as an internationaldocument center (by mail) giving xeroxed documentation on a free basis toeveryone who is interested in the following subjects:AnarchismDirect ActionAlternative Lifestyles Underground PressFeminismLiberating ArtsGay and Lesbian LiteratureAnti-militarismSubculture 'Native People's' StruggleEcology and Green Politics Anarchosyndlcaltsm Worker'sPacifismAutonomyRock Against the SystemThe A. Gallery document center is now supported only by our own, weak personalcontributions and gifts from donors.You, comrades of far way, but fellow combatants of next door: if you want to helpour documents center to go on growing, please send us some of your flyers, posters,badges, pamphlets, books, or whatever else you produce. Originals or photocopiesall languages and forms are welcome. 'THE OPEN HEAD ARTS~"'.C/O Vlasis !i! ;::.

INTERNATIONAL EUROPE. _M.E. AUSTRALIACo-Art from Clinch.CLINCHc/o Gunther Ruch115 Route de Peney1242 Geneve-PeneySwitzerlandCLINCH is an international co-art magazlne-e-co-rrespondence,co-mmunications,c o -m en t ari e s , etc.-mail art, correspondenceart, post card art.GUNTHER RUCH115 Route de Peney1242 Geneve-Peney,Switzerlandtel: 022-53 12 211 have been working for about ten years inthe field of communication-art (mail-art/correspondence-art/post-art) and to datehave received more than 1,000 letters,cards, objects, books, posters, and othercommunications. I have participated inabout 50 international mail-art shows allover the world and have performed ideasand concepts from other mail-art artists aswell as exchanging my own ideas with them.My published art books include: Vergangen/Gegen/Zu(edition ecart/Geneve/1976), Ideas and Communication (Common-press/Int.1980), and others, and Ihave made art-films- (s-B) shown in publictheaters and cinemas,Since 1983, I have published CLINCH,an international CO-art-magazine appearingthree times a year, with the correspondenceof mail-art friends. The threeissues thus far have featured mailperformances,mail-music, and visualpoetry (all co-pieces). Correspondence-Art like Mail-Art or Post-Art, is a fascinatingopen system of communication using the154 Cultural CorrespondencePOstcards\f~Anof/Jer ••,rrorldpostal-code as its medium. It comprises aloose network of participants from aroundthe world and its importance lies in theestablishment of direct contacts with otherartists. But the realization of a real two-waycommunication (sender-receiver-sender)against the traditional one-way communication(artist-audience, or artist-mail-art exhibitions)can only be a collective work. Amonologue isn't the same as a dialogue; adialogue should be a collective communication,a CO-work. Vivid examples includeVittore Baroni's one-man walking exhibitionin Forti dei Marmi with the originalbadges of 200 artists from all over the worldor Guy Schraenen's MA festival in Antwerpwith thousands of mail-pieces, participatingartists, and performances. These two happeningswere realizations of a direct andemerging from contacts between HiddenArtists worldwide. I do not work withspecific political groups,I feel a definition (of Hidden Art) shouldlast only as long as it takes to create a certainpiece of Hidden Art (sculpture, performance,object, etc.).The number of possible explanations ofthe term Hidden Art is endless.TRANSNATIONALPERSPECTIVESCase Postale 1611211 Geneve 16, Switzerlandcontact: Rene Wadlow, editorThe aim of Transnational Perspectives isto work for the abolition of war as a means ofsettlement of disputes; the protection andpromotion of human rights; the creation of amore just New International EconomicOrder based on a strategy of meeting basicneeds; and the maintenance of environmentalbalance. In order to reduce tensionsand to build institutions of peace, independentconcerned voices are needed: towarn, to suggest, to hold out some hope forthe peaceful settlement of disputes. It is thisrole that Transnational Perspectives wishesto play.Transnational Perspectives prints politicalanalysis of the major and underlying trendsin world society and useful policy suggestions,especially those carried out by theUnited Nations.We want to make Transnational Perspectivesbetter known so show it to friends. Inorder to keep our independence we receiveno funds from any government or anyorganization. We receive no funds fromadvertising. The interest of readers andfriends is the way the journal is becoming increasinglyknown and respected. A oneyear sub is $10.. profound cooperation. SANAT EVI ,w. ~. -,KURT THALERFestival of Hidden ArtPO Box 4963CH-8022 ZurichSwitzerlandI create and practice Hidden Art.I work mostly in towns in Europe, indiverse environments, There is no specialgroup I work for, except that some see whatI do and some do not. (That is because HiddenArt is submerged in reality.] I workalone, but would like to communicate aboutsuch art with other artists and organize theFestival of Hidden Art, now in its first stage.An international group, Reversible Glove, is[[HE ART HOUSE)Selanik cad. 76Yenisehir-AnkaraTURKEYSanat Evi- The Art House-is an exhibitionspace.SAHOTRA SARKAR46 J.N. Mitra Rd.Darjeeling 734101 INDIASee: CHICAGO LISTINGBUGAUP ~Box 78University of Sydney Union 2006Sydney, AustraliaBUGA UP (Billboard Utilizing Graffitists Against Unhealthy Promotions), held itsfirst public meeting in Sydney, in October 1980, over 50 people attended. We showedslides and discussed our work, and most importantly, recruited new graffitists. Welaunched our first organized "offensive" -c-the BUGA UP Summer Offensive. Our objectivewas to graffiti on all tobacco and alcohol billboards on gouernment (public)property in Sydney-several hundred billboards.We felt then, and still feel, that the hypocrisy of the New South Wales StateGovernment is particularly intolerable and demands immediate action. Its ownHealth Commission recognizes that up to 40 people per day in Australia die fromtobacco and alcohol related diseases. Each year, the Health Minister outlays millionsof dollars (taxpayers money) on caring for those suffering these diseases. Yet over50% of tobacco and alcohol billboards and posters are on government property-thatis on railway stations and on the sides of buses.In the Offensive, graffiti such as "Health and Transport Ministers-the Real DrugPushers," "P, T.C. (Public Transport Commission) Promotes Terminal Cancer," and"Government Killboards," highlighted these contradictions and sought to embarassthe government which claims to be "actively discouraging the use of any drug."(Neville Wran, City Extra, ABC Radio, 9/81).Support from the Summer Offensive prompted us to establish an official postal addressin February 1981, so that people wanting to "lend a can" for the movementcould become involved, Also, the occasional "brush" with the Law led us to organisea Fighting Fund.Through an appeal in a national weekly newspaper and by utilising several blankbillboards, we called for financial help, Cheques ranging from $1 to $100 were sent(and are still being sent). This money has been used to buy equipment; publishmaterial, such as our catalog and do-it-youself graffiti guide; and to pay half the finesof any graffitist unable or unwilling to go to gaol. The graffitist pays the other half as incentivenot to get "court."INTERNATIONAL&)Two years, and many thousands of billboards later, Syndey BUGA UP has had only21 arrests. Of these, only 13 people have been convicted of "Wilful Deface" or"Malicious Injury" (to the billboard).What about the Malicious Injury to community health and the Wilful Deface of ourvisual environment caused by billboard promotions!BUG A UP-Not a group; a movement.PRAXIS, INC.IWI• • _33 Pakenham St.Fremantle, Western Australia ••AUSTRALIA 6160 YlContact: Julian Goddard and Jane Sramek, Arts Officers (09) 335-9770Praxis is an alternative art space dedicated to the promotion and support of nonconsensusart, initially formed in 1974 by a small group of artists who saw .the nheedd~o~an outlet for experimental art, We are located in an old bag factory, along WItha a.n I ofof other arts groups in Fremantle, the historic port area for the city of Perth, capita 0Western Australia, . k d rtist-in-Our primary activities are exhibitions of non-commercial artwor s an han ad helresitd ence programme, whereby artists of some renown are. br ought to Pert. to k0 t nd errartwork at Praxis for a 4-6 week period. These artists also give talks on th~lr ~or s apresent an exhibition during their stay. We are also in the process of estab .a CO~thhop,and illlfk Iybeamagama lmunityaccesssilkscreenposterprintingworkshshmgtWI Ie h 11 mqwtfDarklight Photo Gallery and Workshops-the only fine arts photograp y ga ery or2000 ~iles!! .' itten b artists addressingPraxis has this year produced a magazme, Praxis .M, wn . y ar Previousissues of local (but not parochial) concern. "M" is published four ~~est y~ ~ers murpublicationshave been issued on such topics as paintings by aboriqlna pnso ,als, and performance documentation on social degradation. C 'I d by the ArtsPraxis is funded by the Visual Arts Board of ~he Australi~ OU~CI ta~as also beenCouncils of Western Australia. Additional fundmg for special projec sgranted by the Instant Lotteries Advisory Commission-Culthure. rt of the world peo-C d fr . 'I rt spaces in ot er pa s ,orrespondence is welcome om Simi ar a , h artist-in-residence propieinterested in subscribing to Praxis M, artists interested In t egramme and general thrill seekers!!AVAGO13-21 McDonald StreetPaddington, 2021Austrailia(02) 333874Avago is reputed to be the smallest galleryin the Southern Hemisphere, being in effecta miniature shop front, cuboid in shape,measuring approximately 4 cubic feet. It hasa plate glass front and is situated at eye levelbeside the front door of the McDonaldStreet factory. Its unique features present atantalizing opportunity for creativity and forexposure to a broed-based audience,CulturalCorrespondence 155,9

INDEXINDEX1\ DistribuUon_ Distributor of anarchiSI books. pamphlets. and art; also informotion cenler, NY.p 36A. Gallery-Inrert;onal anti·authorilorian archive. Greece. p.152ABC NO Rio-Artis/·run gullery and performance space. NY. p_36AIVF -Associolion oj Independenl Video ond Filmmakers. Inc. Advisory group and services fa.independent film/video makers. Publish "The Independent. NY. p38APES/New Paper5 Press-Allernative Periodicals Exhibiting Serllk:e. Exhibit oj oJlemaliue publiCationslTauels to smoll press book/oirs. MI. p. 95A.R. l.S. - Art Resources for Teachers and Students, $erving Chinese and Hispaic youth. perservingcul/urallradWons, NY. pADACTION ARTS - professional performing oris compan\!. OR. p 115ACTION/IMAGE-Publishes coJlecljue memory. history. NY. p.3?AD/HOC; ARTISTS -Ongoing coalition working to liven organizing forms. NY, p.37Adams and Goldbard -Speak. write. research. and consult on culture. cultural po!icV. and communitydevek>pmenl CA. ».isoThe African Heritage Center- Teaching and production of African and African Amerimn perfonningarts. Wash. DC. p.18Afterimage-Jouma! that addresses aU aspects of picturemaking. NY. p. 77Akwekon - See Alex Abram Jacobs., p.79Akwes.",;;ne Notes-Official publication of the Mohawk people of Akwesasne (New York-Canadaborder), NY. p.78Alice James Books - Writer's cooperative: publishes women's poetry. MA. p.29All Co·op Assemblv-Education and service organization for co·ops. MN. p,96William Allen-Pointer/drawer: naiue/primitive expressionist style. NY, p.37The Alliance for Cultural Democracy-Nationwide, non-profit network and organizallon ofcommunitv and progressive arts programs and communitv cu!tural workers. Wash. DC. p.19Catherine Allport-Photogropher. NY. p39Jerri Allyn-AKA Jersey Allyn. Feminis/ performance artist, NY. p.38Alternate ROOTS -Southeast coalition of professional. community·based performing arts organization.and individuals. GA. p. 12Alternative America- Lists and sells mailing lists. MA. p.28Alternative Comlx Guide-Reference book to alternative comics. NY. p.38Alternative Gallery-Alternative community archives project. Greece. p.152Alternative Information Network-Nonprofit media group; produces a progressive public a/fiars TVprogram TX. p.146Amazon Archi~-See Ruggero MaggI. Italy. p.l53Amerasia Art Center-Asian/Pacific American Arts and Resource Center. CA. p. 125The American Black Artist, Inc. -Supports the culture of people of African descent. MI. p. 94Amunition-Magazine of anarchism with sUITealist aspirations. CA. p.l30Amuse-News -Artists and Musicians United for a Sofe Environmenl. NC, p.16Anarch"§! Association of America -Regionally based mutua! aid community: publishes"Emancipation." Wash .. DC. p.19Linda Andre-Photographer, NY. p.39Androgyne Books-Rebus of poetry. fiction and graphic art. CA. p.13OAOUON Poster Archive-Gothers and preserves progressiue political posters. CA. p. 131Appalshop-Appalachian fi!m workshop.KY. p, 15Archway Road Movie Group- Works with community against further motorway building LONDON.p./50Tracy Arden - Visual artist and theater designer FL. p.lOArm of the Sea Players- Theatrical fusion of art, ecology and activism. NY. p.77Art and Artists-Newspaper covering local and notional arts issues. NY, p39Art Papers- Tabloid on visual arts in the Southeast. GA. p,12Art Posltlve- Visual artists. writers and mus;cions opposed to nuclear destruction WI, p. 107An Art T~acher in Every School-Political leadership resource book. Sc. p 17Artemesla- Distributor and producer of films. NY. p, 78The Artist's Collective_Regional multi-arts cultura! institution, CT, p.28Artists At Large- "Faci!itating the diologue upon. modes of thought and pracrice." CA. p.131Artists for Social Responsibility-Network of artists: information. materials. events. MN. p.97Artisls in the Schools of Sonoma County_Artists bringing arts into the schools. CA p. J 24Artisls for Survival-Artist·run anli-nudear graup, MA p.35Artmakers- Coliaboraliue artists group crealing community based public art, NY. p.39Arts for a New Nicaragua-Raising funds for cultural groups: in Nicaragua. MA, p.28Arupace Projectli, Inc. -Finds and develops: living and working space for artists. MN. p. %Alilan American Th~ater Company- Member: People's Theater Coaltion. CA, p,131Association of Hispanic Am, Inc., -AHA!-Gathers and disseminates information on Hispan;c arts.NY. p,40At the Foot ofthe Mountain -Professional women S theater. MN .. p, 97Athens Tapestry Works, Inc.-Produresfiber hangings and wall sculptures. OH. p.l03Avago-Smallest gallery in the Southern Hemisphere. Australia. p.155Peg Averlll- PoIit;cal artist. illustrator. designer. NY. p,WHelene Aylon -Political artisr: "SAC" projecl, NY. p.141Barrunto_ Multi·ethnic network of choreographers and dancers. NY. p.41C.rol Barton-Oil painter on masonite panels. MD. p, 13Bay Area Theater Worker's Association - Bay Area theater union advocacy group CA. p 131John Bell-Peoples musician. NY. p 41John Berquist-Folk arts programs. Minnesota State Arts Board. MN. p.97Dave BeS50n - Politically based guitarist. writer. NY. p.35156 Cultural CorrespondenceINDEXBillboards of the Future- Encourages "oppositionat possibilities' in the media: billboards with dualmeaning. NY. p.41Wllli~ Birch-5

INDEXINDEXBridget Beattie McCarthy -A "crafts actiuist" with extensiue experience in management OR. p. 115Des McLean- Works in phologrophy. xerox. flyers, throwaways, etc. NJ. p.35Media Ailiance-2,OlXl member organization: Jorums. media reuiew, Rights Hotline. CA. p.l38Media Bus-Distributes 'The March Jor Disarmament.·· about June 12. 1982. NY. p.80Media Nelwork-Ahematiue InJormation Center, National organization prouiding inJormation On anddistributing altematiue media. NY. p.62MEmber Magazlne- "International Art Network.. to unite the world oj maUer. and the world oj art 'NY, p.62Menard Press-Anti.nuclear press, England. p.lSOLiz Mestres- Graphic designer and orgonizer. NY. p.62Metropolitan Denver Arts Alliance-Community arts council for Denner area CO. p.114Deena Metzger- Writer/therapist. CA p,146Mldmarch Assoclates_ Women Artists News. Multi purpose arts organization: publishing, exhibitions.panels. archiue and inJOfmation. NY, p.63Midwest Directory of Latino Arthits Organlzatlons-p.89Mldll/ftt Distributors Catalogue - Distributes small press literature in midwest to promote peoples'culture. MO, p. 102Midwest Vldeo- John Turner. Records major marches and speeches through uideo, NE, p.107MIGlll Communications-News and cultural affairs Jor and by the American Indian Community MNp.99MIRA-lnJormation. networking, technical assistance. workshops and seminars Jar latino artistscommunity, IL p.89MIRARTE-Mogozine prouiding inJormation and networking Jor Latino artists. IL. p.89Modern Times Theater-Plays about people in crisis, NY, p.63Montana Public Art Group- Community inuoluement murals. MT, p.114Stephen Most-Playwright. ensemble Jadlitator. NE, p.l38Tom Molko-Actor/playwright. ensemble Jacilitator. NE, P.l06MOYO_ Guerrilla theatre and poetry projecl: exploring Africon and Black culture MN. p. 99Penny Mudd- Feminist reuue and performance: dance and dance lherapy: spiritual concerns NY. p.63Muralists Indlgnas - Community arts classes .. p.63Lucl Murphy_Singer. songleader and community organizer. Wash., DC. p.23EI Museo del Barrio-Hispanic art museum. the major collector and exhibitor for Puerto Rican artists inthe continental U.S, NY. p.63Edward Mycue-Poet. writer. actiuist. CA. p.l38N.F.C.B. -Notional Federation oj Community Broadcasters, Network oj actiuist radio broadcast groupsand stations. Wash .. DC., p.24N.R.C. -Nuclear Recycling Consultanls. Cmative concepts Jar the recycling oj nuclear sites, MA, p.34National Alliance 01 Media Arts Centers-Supporting Media Arts in the U.S. NY. p.64National Alliance of Media Arb Cent",rs Gulde-Comprehensiue media arts information throughoutthe U,S .• p,64National Black Theatre. Inc. - Culturat and educational Jacility in Harlem with performing. touring andtraining programs NY. p,64National Fesllval of Women's Theal:re_Promoting women's theatre and fighting stereotypes CA.p.145National Women's Mailing L1st- Women's networking lists: many subjects, CA p.138National Writers Union - Collectiue bargaining orgonil:ation Jor writers. NY. p.64Th~ Naturist Society-Promoting clothes·optionalliJestyles: publish "Clothed wilh the Sun, . and"Offshore Nude Recreations, " WI. p.l09Holly Near-SEE Cultural Work, 1nc. p,138Neighborhood Arts Center, Inc. - Collectiue oj artists sharing spoce and running workshops. GA. p 13The New Art E"amlner- Visual arts publication with close coverage oj the art world in more than tenmajor midwest and east coost dties, Wash., DC. p.89The New Song Quintet-Poetic. meaningful, musically inouatiue songs -from jazz to Jacques Brei"p.65New York City Anti Nuke Group-Supports and sponsors cultural actiuities. NY, p.65New York Manlist School-BRECHT AUDrTORIUM. Independent educational and cultural center.NY. p,65New York Street Theater Caravan -13 year old touring street theater. NY, p.65New World Theater Co. - Thealer company commil/ed to community arts. W. VA. p.18Newsong Network -Fostering music grown out oj tradition, in struggle Publish People's Songletter. NY.p.llNEXUS, Inc. -Multi-Jaceted arts organization: gallery. pre~, theatte, studios. GA. p, 13Nicaraguan Cultural Groups-SEE Article., p.l50Boris Nleslony- Visual artist and networker. W. Germany, p.lSINine One One - 911. Contemporary arts and resource center: inJormalion. malerials, exhibitions. p,117lectures. performances. WA p, /17Bob Norman -Folksinger. songwriter. activist. Jormer editor oj "Sing Out." NY. p,66North Mission Arts Coalition - Opposing gentriJication and the squeezing·out oj local artists. CA. p.139Northern Sun Merchandising - Mouement merchandising and distribution: posters. T·shirts. buttons.pins. etc. MN. pl00Northland Poster Collectlve- Silkscreen paster group. MN, p.99Northwest Working Press- Collectiuely run printshop. OR. p, 115Not Available Comics -Mini-comics by Mall Feazell. NC. p.16Not For Sale-Anti-GentriJication art: affiliated with PADD. NY. p.67The Nubian League, Inc. -Promoting the use oj African and African American literature in theperforming arts. Wash,. DC. p.24Nuclear Arsenal ProjC"ct_Ceramic miniature reconstruction oj the entire U.S. nuclear arsenal, CO.p.1I4Nuclear Recycling Consultant!i-conuersion concepts. MA. p34Nuclear Times -National magozine covering the anti_nuke mouement. NY, p66Nuestras Artes de Michigan-Promotes exhibition oj Roza art. MI, p.94One Sky Music-SEE Judy Gorman·Jacobs. p,66One World ArtIst Cooperative - Publishes and distributes political graphics. CT. p.28Open Hand Theatre-Experimental collectiue theatre: movement, sound, puppetry. and mime. NY.p.117Open Head Arts -Publishes on international collective mail art magazine. Greece. p.152Open Studio for the Perfonner - Offers training to deuelop lhe performer's instrument: body, uoice.mind. heart, Wash .. DC. p.24Oral History of the American Left-Archiue oj taped interuiews with octiuists spanning several decadesNY, p.66Oregon Arts Commlsslon- State arts 019anization deueloping community arts and resources, OR.p.1I6The OrIginal Art Report - TOAR. NewsleneT with articles mainly by editor on Chicago arts scene IL.p9()J. Hernandez Osorio-Printmaker. painter and muralist. NY. p66Otto Rene Castillo Center for Working Class Culture_ Cultural center oj the New York Institute JorSocial Therapy and Research. NY, p,66Outermost Perfonnance- Performance art in response to cultural/political iSSues. MA p.34Over the Edge-Radio show: liue Jiue hour audio mix. CA p.139PADD-Political Art Documentation/Distribution. Progressiue artists' resources and networkingorganil:alion. NY. p.67PADD - Archive Commlttee_ Ongoing international archiue documentation oj socially conscious artand art-related actiuities. NY. p.67PAND· Atlanta- Performing Artists lor Nuclear Disarmament. Disarmament perJormers, GA p.13PAND. Boston-Network oj interdisciplinary artists raising consciousness. MA. p.3lPEATOC-Peer Educator Touch oj Clo~, Sex and health education Jar teens through peer theatreworkshops MA. p,31Paper Tiger Televlslon-Collectiuely made public access TV show. NY, p.68PARTisan -Artists collectiue: gallery, writing. performances on many rssues. Canada .. p. 149PATCH - Phanzine Jor the group Alan DeCotes and the Phantoms and the Phantomettes. NY. p.76Douglas L. Paterson-People's theater worker and writer. NE, p,l06Jeff Patterson-Artist. designer, cultural and community ocliuist. NE, p.l06Sunl Paz-Argentine singer. composer. guitarist. NY, p.68Peace and Carrots Caucus -Organizing arts euents and political humor Jestiual. VT, p.84The Peace Museum-Museum exploring war and peace through the arts, fL. p.90La Pena Cultural Center-Community center Jor diverse culturalleuents. CA. p.139People Moring People_Small multi racial uocal ensemble. NY, p.68The People, Yesl_ Yearly Jestiual oj progressive art and culture. IL. p.90People's Music Nelwork - Organizing political musicians and promoting music within the progressiuecommunity. Wash .. DC. p.24People's Music Nelwork-019anizing political musicians and promoting music within the progressilJecommunity. Wash, DC, p.28People's Music Nelwork for Songs of Freedom and Struggle- Major network oj singers, mUSIC,ans.distributers, programmers. etc. CT. p.28People's Song letter-Journal oj the Newsong Network. NY. p, 77People's Theater at UNO-Master'sleuel peoples lheatre program. NE, p.107People's Theater Coalition-Organization oj proJessional community-based theater companiespromoting people's theatre. CA. p.139People's Voice C!lfe-Alternatiue cofJehouse. NY, p.68The Performance Nelwork of Ann Arbor- Liason among artists, political organizations and lhecommunity. MI. p.94Performers' Workshop Ensemble_ Group oj performers and composers. IL. p.86Pickle Family Circus-One ring circus. CA. p, 140Pin Point Theatre-MUSical Theater group. Wash .. DC, p25Marcia Plevin Productions: A Dance Company- Dance pieces with politics. NC, p.14OPlutonium Players -Street Theatre that works with many group". CA p.l40Political Graphlcs_ Finol Notice Productions. Political graphics Jor publications, Canada., p.149The Popular Arts Workshop- Group murals: enuironmental artworks. public arts euents. MI. p.95Postal Art Network -See Mark Bloch. p,6BPoundsGude_Jon Pounds and Oliuia Gude. SEE GudePounds. p.88PraJCis, Inc. -Alternatiue arts space, Australia. p.140James B. PrigoH-Mural affecionado: photographer; documentor, CA p.l03Aiel! gSandy" Primm_ Writing. community projects and oral history. MO. p.l4DProcessed World -Resource and journal on the world oj high technology and inJormation. CA, p.32Progressive Platter-Music reuiew magozine. MA. p.24Public Interest Video Network_PIVN. Network 10 prouide diuersity in public affairs programmingWash .. DC. p.24EI Pueblo Nuevo, Inc, -Arts as educational tool Jor SOCialchange. MA p.32Tony Pusey-Surrealist cartoonist and publisher. Sweden. p, 153QUlndaro-Publishing fiction. poetry. essays. etc. KA. p.93RCAF - Centro de Artistas Chicanas-Royal Chicano Air Force. Bilingual, bicultural communication artscenter, CA. p,128Race Today-African and West Indian news and analysis. England. p.1SORadical Humor Movement_RI, p,84Ragged Edge Press-Printshop. NY, p.68Random Lengths- Free speech community newspaper. CA p.145La Raza Graphics Center-Community organizing through graphic arts. CA p.141The Readers League_People loolring Jor correspondents with similar interests CA p.124Joyce Rebora -Pencil. pastel and paint artist. IL. p.90The Red Aunts-Agit.prop songwriting/performing collaboration. CA p141Red Bass Quarterly-political arts quarterly. FL. p, 11Reelworks, Inc. - Film/uideo/audio uisual production on progressiue issues, NY, p.68Resources and Counseling/United Arts Council-Assistance. inJormation, aduice Jor delJeloping artsorganizations and artists. MN, p.l00Rhubarb_Newspaper oJ the Radical Humor Union. NJ. p35Leonard Rllas-Designer and publisher of comic books. SEE Educomics .. p.141Rising Tide-Modern Jolk music. MA, p.34Roadside Theatre-Appalshop. OJ and about coalfields in central Appalachia. KY. p,15Rock Against SeJClsm-Anti·sexism in rock and roll. MA p32ROOTS -SEE Alternate ROOTS. p. 12Aaron H. Roseman-Politically oriented painter. p

~...................... ~ .CC new series #2 (Winter 1983) sometimesknown as the orange issue, the 'We Want ToLive! issue, the Radical Humor Festival issue,or the Imagining the 80s issue. (We didn'thave the nerve to call it The Decade of Imag-.ination.) [If 1M. Will Not Be Disappeared!looks to you like a reference book you are"not likely to wear out soon, then CC #2 isthe one for you.] In a letter to Paul Buhle,C.L.R. James wrote from London: "t havebeen reading it for the last two hours. I justwant to say in as simple and precise terms aspossible it is magnificent. . . It may seem toyou that I am a little excited. You are quitewrong. I am overexcited to the point of explosion.To express myself finally: here I am,82 yeaers old, a man of knowledge and understanding,universally recognized, andsome American people print a magazine thatconvinces me of my total ignorance of theforces in the world which are going the waythat I have been wanting people to go formany years. Where ignorance is bliss 'tisfollyto be ignorant. Yours with humility, (C.L.R.)CC#2 has 96 pages packed with the artworkand writing and poetry and laughter of thismovement. The opening article by Adamsand Goldbard is a fine explanation of ourpolitics; also has Lucy R. Lippard, Rabin Tyler,Paul Buhle, Flo Kennedy, Eva Cockcroft,l-\e "-bnt To Live! Art IAbrks for Peace June12, 1982 is a 15 minute audio slldeshow coproducedby CC and PADD (Political ArtDocumentation/Distribution). This short andinspiring show can be easily shown at parties,workshops, meetings that have anythingto do with culture or politics or history.It surveys the extraordinary visual imagerycreated for the largest antigovernment demonstrationin U.S. history. "When we say,'Freeze!' we do not mean to keep things theway they are." $35 to rent, $100 to buy.Books by C.L.R. James available from Cc.Future in the Present, Spheres of Existence,Notes on Dia/ecbcs ($5.00 paperbacks),Nkrumah and the Ghana Revolution ($8.00paperback). Lawrence Hill Editions. \Akitefor info on James.Cultural Correspondence, N.S. #1 (April1982), 16pp special Radical Humor Festivalissue, articles by Paul Krassner, Bill Livant,Paul Buhle, catalogue of art show includingKinney, Crumb, Kupferberg, Pavlidis, Poseda,many others. $1.Cultural Correspondence, old #12-14 (Summer,1981), Manifesto for a Radical HumorMovement by Jay Kinney and Paul Buhle,with signatories from 12 countries, documentsfrom Europe, U.S., Mexico. Also,Feminist Humor on the 70s, Crumb's Notebooks,Surrealist pies, much else. 12Opp, $3.Cultural Correspondence, old #9 (Spring,1979), Sex Roles & Humor, interviews withunderground women artists, Humor Archivewith Oscar Ameringer and Art Young, ShopFloor Humor past and present, hilariousKinney cover. 88pp, $2.Cultural Correspondence, old #8 (FaIl-Winter,1978), Naomi VJeisstein's unfinished feminist/humor/detectivenovel; R. VJeisbergeron Jewish Stage Humor; P. Buhle on comicstrips, Andre Breton on Black Humor. 72pp,$2.Cultural Correspondence, old #6-7 (Spring, ~~"'.'1978), Humor Documents from German-American, Yiddish, Finnish-American andDown Home Socialist Movements. "The Enemy-AnAlarm Clock" (W.E. Reynolds,1922). Many comics, jokes. l2Opp, $2.50.David Polonoff, Jim Murray, and CLR Jameson Black women writers; lots more. Of 40articles and 100 graphics, only five seem"dated" in 1984. Only $2.50 ~ .J~:~S1"tJ(r:-76 ~!I" .II,I,~ ...Shmate (June, 1983) specially edited byPaul Buhle, Jewish Humor Past & Present,includes new translation of Sholem Aleichem,Moshe Nadir; Jewish union jokesfrom the 1930s-40s; Barsht Belt comics;many pies, laughs. $3.50.*************************************Add $1.50 postage and handling to all orders(except Rhubarb, and Jim's Letter) and mailJim's Letter: personal newsletter from theto Cultural Correspondence, 505 West Endpublisher of CC; fights for creative writing inAvenue, NY NY 10024.the movement; "My goal in life is not tomake a film." Free. **************************************,The Cultural Correspondence Archive is notfor sale, but it is available for all sorts of networkingpurposes. It contains the materialwe collected for \Ak Will Not Be Disappeared!as well as the invaluable memorabilia fromthe Radical Humor Festival. If you are readingthis book and feel that you should be init, send us your material and an "entry" answeringthe questions we asked before. (SeeCC's Entry in the front of this book.) Thatway if CC or someone else publishes a newedition you will be in it.160 Cultural Correspondence