3RD LANGUAGE SUMMER WORKSHOPS: Our Voices, Our Community, Our History
Summer of 2013, 3rd Language will host a series of 12 workshops taught by emerging and established local artists.
Workshops will explore:
writing, print-media and bookmaking,
media traditionally associated
with historical documentation,
as modes of radical storytelling.
This opportunity is open to artists and writers with all levels of experience.
Accepted participants will receive a stipend of $250 for their participation.
Workshop Application Deadline June 03, 2013
“Power Struggles – viewer, subject, and auteur in the work of William E. Jones”
From Contemporary Art Daily
“You are the camera” asserts the narrator in Jones’ recent work Shoot Don’t Shoot (2012), in which he takes outdated police training footage used to educate police officers on when to ‘shoot’ and rearranges its order, interspersing frames of flickering reds and pinks. “You know him to be 6 feet tall … 200lbs … a black man wearing a pinkish shirt and yellow pants … he is known to be armed and dangerous” calls the male voice, as he addresses the viewer. The footages reddish hues are the result of the film stock’s degradation and in this state Jones suggests the transfer of power from the police officer, to the viewer, for whom the original footage was never intended – an opportunity to evaluate the officer’s official role, as well as the viewer’s own. Here, two scenarios are played out, but edited together by Jones to feature the armed and unarmed assailant simultaneously; furthering the double meaning alluded to in the works cinematic title.
Blackberri wearing the sacred necklaces of a priest in the Afro-Cuban Yorùbá-inspired Lucumí tradition, by Robert Giard, 2001. Elisa Rolle quotes his profile from Queering Creole Spiritual Traditions: Lesbian, Gay, Bisexual, and Transgender Participation in African Inspired Traditions in the Americas:
Born in 1945 as Charles Timothy Ashmore, Blackberri is a singer, composer, poet, photographer, and political activist. He is of mixed origins and started his career as gospel singer. He came out to his mother when he was a teenager and his mother accepted his being gay. After going into the armed services, he stopped singing gospel, but he returned to music in 1967…
In recent years, although Blackberri has continued to perform, he has devoted much of his time to the AIDS-related causes and organizations, including the Black Brothers Esteem Program at the San Francisco AIDS Foundation and the Tenderloin AIDS Resource Center, also in San Francisco. In 2002, he was honored at the San Francisco Candlelight Vigil with a Lifetime Achievement AIDS Hero Award.
Today, Blackberri is a priest of Lucumi, or babalorisha: he first became seriously involved in this spiritual tradition in 1984 and was initiated in Oriente, Cuba, in 2000…In 1995, he [had] decided to visit Cuba with Queers for Cuba, a Bay Area-based organization. There, he “met Oshun, who blessed [him] in a lot of ways.”
Blackberri has visited Cuba seven times since 1995. On each of these visits, he has experienced a spiritual epiphany. This was the chief reason he ultimately decided to undergo initiation in Cuba: “That’s where I feel most strongly connected to spirit.”
Blackberri once said: “I think we choose [to be queer] as a part of our destiny, because of the things we have to teach other people about themselves, about life.”
I got a lotta off days but it ain’t often I’m off the clock
y’all know what I mean
I got the Chicago blues
we invented rock before The Stones got through
We just aimin back because the cops shot you
buck buck bang bang
yelling fuck FOX news
MOCAtv Presents DLIHCYOB - boychild - Performativity
“remember you are human. remember the world is over. remember the world is over. remember the world is over. remember you are human.”
Anonymous asked: Im a cismale looking for fraction of my identity yet to be discovered. Do have any suggestions?
First I suggest do some reading— on your privilege and privilege in general. Then I suggest DO-ing. Make sure that you are situated within a community (however small or large) that supports you in experimentations with visual presentation and allows you space to explore masculinity, femininity and all parts of self between and beyond the binary. I’d also like to stress that these experimentations/ explorations of self don’t necessitate a public space or even visible changes. Conversation- with yourself or a supportive friend- is a small but crucial start to understanding your own identity. I’m also not an expert, by any means, but hope this is useful?
Anonymous asked: what is your email?
call for submissions
3rd Language: Issue #3: Lineage and Archive
**In our 3rd publication, we will explore queer lineage and the archive. We ask: how does one articulate, emulate, and preserve the past? This artist-run publication aims to showcase the work of upcoming queer artists, writers, and thinkers in a quarterly online and print format.
Points of interest include but are not limited to:
Structures of time
Queer heroes / self-created family and homage
Subjective and group memory
Interpretations of past LGBTQI narratives
Methods of archive and preservation
Display and exhibition
I have been wanting for a back
for too long
or asking for one year and one half
of my body a gaping wanting closed
With a twist
every bone cracks over and over
unto one another I do
do it again do it again
Every sinew a back I have been wanting for a back break for so long
the dead cow on my back holds on too tightly
do it again
blue is the smoke of war, white the bones of men