Folgen
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“So for me, it just kind of removing a lot of the shame and then a lot of the energy that I was wasting trying to fit myself into a neurotypical process or framework or way of thinking or being. So, you know, some people call that unmasking, just kind of removing. I was wasting a lot of energy, basically trying to be someone else and function in a different way. And then just beating myself up internally for not being able to do that. And throughout my healing journey, as I really realized, Oh, that's actually what's happening. Like there's not actually anything wrong with me being able to...That's why it's called Love Your Brain. It's not just, you know, tolerate your brain. Or, fine, you can work with this brain that you have. It's like, no, I genuinely love the weird experiences that my brain can give me and the incredibly rich, deep experience I have of the world. Like I experience nature so deeply and so intensely. I have really strong connections with animals. I have really great intuition, which I think is just from picking up all this sensory data and putting it together. All these experiences that I get to have, but I don't get to have those experiences if I'm just trying to make myself be something else, which I think is most people who are late diagnosed, I feel like that's their experience. It's just like I've been trying to be someone else for so long. It's exhausting. And then you don't have the energy then to be creative, the carving out the time, making the time to actually create.”
Mattia Maurée is an interdisciplinary composer whose work centers around themes of perception, body, sensation, trauma, and resilience. Their scores for critically acclaimed films have been played in 13 countries. Their poems have been featured in Boston City Hall as part of the Mayor's Poetry Program, Guerrilla Opera, and Arc Poetry Magazine. Mattia composes and performs on violin, voice, and piano, and has taught music for over 20 years. They have received a Master's of Music in Composition at New England Conservatory and a Bachelor's of Music from St. Olaf College. They also are an AUDHD coach, host the AuDHD Flourishing podcast and help other neurodivergent folks heal and find their creative flow in their course Love Your Brain.
http://mattiamauree.com
https://studio.com/mattia
https://mattiamauree.com/love-your-brain
https://www.audhdflourishing.com/hellowww.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
How can we learn to flourish because of who we are, not in spite of it? What is the sensory experience of the world for people with autism and ADHD? How can music help heal trauma and foster identity?
Mattia Maurée is an interdisciplinary composer whose work centers around themes of perception, body, sensation, trauma, and resilience. Their scores for critically acclaimed films have been played in 13 countries. Their poems have been featured in Boston City Hall as part of the Mayor's Poetry Program, Guerrilla Opera, and Arc Poetry Magazine. Mattia composes and performs on violin, voice, and piano, and has taught music for over 20 years. They have received a Master's of Music in Composition at New England Conservatory and a Bachelor's of Music from St. Olaf College. They also are an AUDHD coach, host the AuDHD Flourishing podcast and help other neurodivergent folks heal and find their creative flow in their course Love Your Brain.
“So for me, it just kind of removing a lot of the shame and then a lot of the energy that I was wasting trying to fit myself into a neurotypical process or framework or way of thinking or being. So, you know, some people call that unmasking, just kind of removing. I was wasting a lot of energy, basically trying to be someone else and function in a different way. And then just beating myself up internally for not being able to do that. And throughout my healing journey, as I really realized, Oh, that's actually what's happening. Like there's not actually anything wrong with me being able to...That's why it's called Love Your Brain. It's not just, you know, tolerate your brain. Or, fine, you can work with this brain that you have. It's like, no, I genuinely love the weird experiences that my brain can give me and the incredibly rich, deep experience I have of the world. Like I experience nature so deeply and so intensely. I have really strong connections with animals. I have really great intuition, which I think is just from picking up all this sensory data and putting it together. All these experiences that I get to have, but I don't get to have those experiences if I'm just trying to make myself be something else, which I think is most people who are late diagnosed, I feel like that's their experience. It's just like I've been trying to be someone else for so long. It's exhausting. And then you don't have the energy then to be creative, the carving out the time, making the time to actually create.”
http://mattiamauree.com
https://studio.com/mattia
https://mattiamauree.com/love-your-brain
https://www.audhdflourishing.com/hellowww.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
Fehlende Folgen?
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"That production was really close to my heart because I was a musical theater dancer in the eighties and so that whole storytelling was something that I personally had lived through and really understood. You know, I was that kid at the Pineapple Dance Studios. And gradually, as friends around me sort of began to become unwell, and actually, one of the first people that I knew who died from HIV was my singing teacher at the time, a guy called Chris Edwards. He was the first person that contracted HIV that I knew, and he died within 18 months. So Russell T. Davies. Peter Hoar, the amazing director, and myself were of the generation who had lived through this, but for the young cast it was something that was about history, so that work of really exploring it was important. And also then, there was a cast member for whom the experience of HIV was a lived experience.”
Ita O’Brien is the UK’s leading Intimacy Coordinator, founder of Intimacy on Set (and author of the Intimacy On Set Guidelines). Her company, set up in 2018 provides services to TV, film, and theatre when dealing with intimacy, and is a SAG-Aftra accredited training provider of Intimacy Practitioners. Intimacy on Set has supported numerous high-profile film and TV productions including Normal People & Conversations With Friends (BBC3/Hulu), Sex Education 1&2 (Netflix), I May Destroy You (BBC/HBO), It’s A Sin (Channel 4), (Neal Street Prods / Searchlight Pictures).
https://www.itaobrien.com/
https://www.itaobrien.com/intimacy-on-set-guidelines.html
https://www.imdb.com/name/nm1357677/www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
How can intimate scenes be brought to the screen in ways that respect the emotional well-being and privacy of the artists themselves? How do we make sure that we can create a story about abuse without anyone being abused in the process?
Ita O’Brien is the UK’s leading Intimacy Coordinator, founder of Intimacy on Set (and author of the Intimacy On Set Guidelines). Her company, set up in 2018 provides services to TV, film, and theatre when dealing with intimacy, and is a SAG-Aftra accredited training provider of Intimacy Practitioners. Intimacy on Set has supported numerous high-profile film and TV productions including Normal People & Conversations With Friends (BBC3/Hulu), Sex Education 1&2 (Netflix), I May Destroy You (BBC/HBO), It’s A Sin (Channel 4), (Neal Street Prods / Searchlight Pictures).
It's a Sin - Telling Stories About the HIV/AIDS crisis:
"That production was really close to my heart because I was a musical theater dancer in the eighties and so that whole storytelling was something that I personally had lived through and really understood. You know, I was that kid at the Pineapple Dance Studios. And gradually, as friends around me sort of began to become unwell, and actually, one of the first people that I knew who died from HIV was my singing teacher at the time, a guy called Chris Edwards. He was the first person that contracted HIV that I knew, and he died within 18 months. So Russell T. Davies. Peter Hoar, the amazing director, and myself were of the generation who had lived through this, but for the young cast it was something that was about history, so that work of really exploring it was important. And also then, there was a cast member for whom the experience of HIV was a lived experience. I worked with two fantastic intimacy practitioners who were both under mentorship at that point in time, Elle McAlpine and David Thackeray."
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
"I had the first ever lesbian makeout scene on network television on a short-lived show called Relativity. That was another role where I felt really honored to be asked to do that, having been in and around the gay community my whole adult life. In the club scene, it was like all my friends were gay. So I was really happy to represent doing that. When I did my show Positive Me, we were in the middle of a horrible crisis. The AIDS crisis was very real to me and my friends and not real to the people that I knew from New Jersey. They thought it was government hype. They didn't believe in it. And so I couldn't even fathom that. And I had taken a class with Elizabeth Swados about writing satire, and she was very encouraging in terms of what I was doing. And so maybe it was just gumption. I just thought, Okay, then this is what I'm going to do!"
From her role as Dr. Lisa Cuddy on the hit Fox series House M.D, to her starring role as Abby McCarthy in Bravo's first scripted series Girlfriend's Guide to Divorce, Lisa Edelstein's range of roles are as diverse talent. Some of Edelstein's feature credits include Keeping the Faith, What Women Want, Daddy Daycare, As Good as It Gets, and Fathers and Sons. She played a Holocaust survivor and adopted mother in the drama television series Little Bird. The story centres on a First Nations woman who was adopted into a Jewish family during the Sixties Scoop, as she attempts to reconnect with her birth family and heritage.
Lisa’s career began by writing, composing, and performing an original AIDS awareness musical Positive Me at the renowned La Mama Experimental Theater Club in New York City. In the wake of COVID, Lisa began to paint using old family photographs as starting points. Her incredibly detailed paintings capture intimate relationships and spontaneous moments with honesty and compassion.
https://lisaedelstein.komi.io/
www.lisaedelsteinpaintings.com/
www.imdb.com/name/nm0249046www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcastArtworks:
“Beach Day”, “Marsha”, “Karen” Courtesy of the ArtistLisa Edelstein in the Studio
Photo credit: Holland Clement, Courtesy of the artist -
How can the arts help us examine and engage with social issues? How do our families shape our views, memories, and experience of the world?
From her role as Dr. Lisa Cuddy on the hit Fox series House, to her starring role as Abby McCarthy in Bravo's first scripted series Girlfriend's Guide to Divorce, Lisa Edelstein's range of roles are as diverse talent. Some of Edelstein's feature credits include Keeping the Faith, What Women Want, Daddy Daycare, As Good as It Gets, and Fathers and Sons. She played a Holocaust survivor and adopted mother in the drama television series Little Bird. The story centres on a First Nations woman who was adopted into a Jewish family during the Sixties Scoop, as she attempts to reconnect with her birth family and heritage.
Lisa’s career began by writing, composing, and performing an original AIDS awareness musical Positive Me at the renowned La Mama Experimental Theater Club in New York City. In the wake of COVID, Lisa began to paint using old family photographs as starting points. Her incredibly detailed paintings capture intimate relationships and spontaneous moments with honesty and compassion.
"I had the first ever lesbian makeout scene on network television on a short-lived show called Relativity. That was another role where I felt really honored to be asked to do that, having been in and around the gay community my whole adult life. In the club scene, it was like all my friends were gay. So I was really happy to represent doing that. When I did my show Positive Me, we were in the middle of a horrible crisis. The AIDS crisis was very real to me and my friends and not real to the people that I knew from New Jersey. They thought it was government hype. They didn't believe in it. And so I couldn't even fathom that. And I had taken a class with Elizabeth Swados about writing satire, and she was very encouraging in terms of what I was doing. And so maybe it was just gumption. I just thought, Okay, then this is what I'm going to do!"
https://lisaedelstein.komi.io/
www.lisaedelsteinpaintings.com/
www.imdb.com/name/nm0249046www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcastPhoto credit: Mitch Stone
Courtesy of the artist -
What are we willing to give up to find meaning, connection, and a sense of belonging? What happens if we don't self-promote, self-create, and self-brand on social media? Will we find the right partner? Will we get into the right college? Or find the best job?
Tara Isabella Burton is the author of the novels Social Creature, The World Cannot Give, and Here in Avalon, as well as the nonfiction books Strange Rites: New Religions for a Godless World and Self-Made: Curating Our Image from Da Vinci to the Kardashians. She is currently working on a history of magic and modernity, to be published by Convergent in late 2025. Her fiction and nonfiction have appeared in The New York Times, National Geographic, Granta, The Washington Post, The Wall Street Journal, and other publications.
"I think that we always try to find ways of defining ourselves against culture, archetypes, and narratives. And one of the things that interests me most is the process of trying to figure out what story we're in, to try to figure out who we are relative to stories. I don't think we are reducible to archetypes exactly, but I think that constant trying on the different hats, metaphorically speaking, and saying: Am I this? or Am I that? Am I a vamp? Or am I an ingenue? I would say that probably, as a woman, I am very, very aware of it. I think there is actually some kind of self-knowledge that is linked to knowing something true about ourselves."
www.taraisabellaburton.com
www.simonandschuster.com/books/Here-in-Avalon/Tara-Isabella-Burton/9781982170097?fbclid=IwAR30lnvlXMrDJtCq_568jUM3hvzr6yUz_GUUZSkbR2RarreOF6PMcvhabBgwww.amazon.com/dp/B07W56MQLJ/ref=sr_1_fkmr0_1?keywords=strange+rites+tara+isabella+burton&qid=1565365017&s=gateway&sr=8-1-fkmr0
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
“I was fortunate to be able to be out in Hollywood in the 90s and to be able to work early on seminal LGBT-presenting shows like Tales of the City series, and Six Feet Under with Alan Ball. When it comes to Tokyo Vice, I did push hard for there to be a queer storyline because in the late 90s, in Japan, there was a huge thriving gay subculture. But it wasn't on the table to come out because your sexual orientation was considered irrelevant to your obligations to society.”
Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.
https://www.imdb.com/name/nm0693561
https://www.imdb.com/title/tt2887954/www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
What does learning another language and living in another culture do for your humanity and creative process?
Alan Poul is an Emmy, Golden Globe, DGA, and Peabody Award-winning producer and director of film and television. He is Executive Producer and Director on the Max Original drama series Tokyo Vice, written by Tony Award-winning playwright J.T. Rogers and starring Ansel Elgort and Ken Watanabe, as an American journalist in Japan and his police detective mentor. Poul is perhaps best known for producing all five seasons of HBO's Six Feet Under, all four of Armistead Maupin's Tales of the City miniseries, My So-Called Life, The Newsroom, Swingtown, and The Eddy, which he developed with director Damien Chazelle. His feature film producing credits include Paul Schrader's Mishima and Light of Day, and Ridley Scott's Black Rain.
“I was fortunate to be able to be out in Hollywood in the 90s and to be able to work early on seminal LGBT-presenting shows like Tales of the City series, and Six Feet Under with Alan Ball. When it comes to Tokyo Vice, I did push hard for there to be a queer storyline because in the late 90s, in Japan, there was a huge thriving gay subculture. But it wasn't on the table to come out because your sexual orientation was considered irrelevant to your obligations to society.”
https://www.imdb.com/name/nm0693561
https://www.imdb.com/title/tt2887954/www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
“The legal system is a colonial legal system that is designed to preserve capitalist extraction and all the racial dynamics required to produce racial capitalism. The system is already completely captured by our opponents. And anything that looks like it's good for us is probably actually not. People don't get what they're supposed to get. It's undermined in several ways, or it can get flipped all the time. Like the law in the books is not happening on the streets. The police are not supposed to kill people all the time, and they just do. There is no rule of law. We live in lawless, brutal domination under a set of systems that are incredibly resilient and can reframe and sometimes be extra-legal, and that works out fine for them.”
Dean Spade is an organizer, speaker, author, and professor at Seattle University's School of Law, where he teaches courses on policing, imprisonment, gender, race, and social movements. Spade has been organizing racial and economic movements for queer and trans liberation for the past 20 years. Spade's books include Normal Life: Administrative Violence, Critical Trans Politics, and the Limits of Law and Mutual Aid, Building Solidarity During This Crisis (and the Next). In 2002, Dean founded the Sylvia Rivera Law Project, a non-profit law collective that provides free legal services to transgender, intersex and gender non-conforming people who are low-income and/or people of color, and which operates on a collective governance model. His writing has appeared in The Chronicle of Higher Education, Out, In These Times, Social Text, and Signs.
www.deanspade.net
www.southendpress.org/2010/items/87965www.deanspade.net/mutual-aid-building-solidarity-during-this-crisis-and-the-next/
https://srlp.orgwww.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
Dean Spade is an organizer, speaker, author, and professor at Seattle University's School of Law, where he teaches courses on policing, imprisonment, gender, race, and social movements. Spade has been organizing racial and economic movements for queer and trans liberation for the past 20 years. Spade's books include Normal Life: Administrative Violence, Critical Trans Politics, and the Limits of Law and Mutual Aid, Building Solidarity During This Crisis (and the Next). In 2002, Dean founded the Sylvia Rivera Law Project, a non-profit law collective that provides free legal services to transgender, intersex and gender non-conforming people who are low-income and/or people of color, and which operates on a collective governance model. His writing has appeared in The Chronicle of Higher Education, Out, In These Times, Social Text, and Signs.
“The legal system is a colonial legal system that is designed to preserve capitalist extraction and all the racial dynamics required to produce racial capitalism. The system is already completely captured by our opponents. And anything that looks like it's good for us is probably actually not. People don't get what they're supposed to get. It's undermined in several ways, or it can get flipped all the time. Like the law in the books is not happening on the streets. The police are not supposed to kill people all the time, and they just do. There is no rule of law. We live in lawless, brutal domination under a set of systems that are incredibly resilient and can reframe and sometimes be extra-legal, and that works out fine for them.”
www.deanspade.net
www.southendpress.org/2010/items/87965www.deanspade.net/mutual-aid-building-solidarity-during-this-crisis-and-the-next/
https://srlp.orgwww.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
In this episode of the Speaking Out of Place podcast, Professor David Palumbo-Liu and Azeezah Kanji talk with Sara Ahmed about her new book, The Feminist Killjoy Handbook. How and why is it that complaining about sexism, misogyny, homophobia, transphobia, and other forms of bigotry, is considered impolite? How is civility uncivil, and the mandate to be “happy” a tool for silencing grievances? Sara Ahmed tackles all those questions, and gives us strength and courage to keep on killingjoy and speaking truth.
Sara Ahmed is an independent queer feminist scholar of colour. Her work is concerned with how power is experienced and challenged in everyday life and institutional cultures. Her first trade book, The Feminist Killjoy Handbook is coming out with Seal Press next month. Previous books (all published by Duke University Press) include Complaint! (2021), What's The Use? On the Uses of Use (2019), Living a Feminist Life (2017), Willful Subjects (2014), On Being Included: Racism and Diversity in Institutional Life (2012), The Promise of Happiness (2010) and Queer Phenomenology: Objects, Orientations, Others (2006). She is currently writing A Complainer’s Handbook: A Guide to Building Less Hostile Institutions and has begun a new project on common sense. She blogs at feministkilljoy.com.
"She often said I was the daughter she didn't have. And I was the daughter she had, in fact, because I'll say that to you. And I got a lot from her. She was very much willing always to speak her mind. And I would watch her tell my father off. It would be just like, yeah, this is possible! And she was outspoken, but also very loving. She's no longer with us. I never came out to her in the sense of saying 'I am a lesbian' or whatever, but I think she kind of knew. We had conversations, and I think she would have been okay with it. And because she was just a very, very curious and creative person and an enormous influence in my life."
https://www.penguin.co.uk/books/454793/the-feminist-killjoy-handbook-by-ahmed-sara/9780241619537
www.palumbo-liu.com
https://speakingoutofplace.com
https://twitter.com/palumboliu?s=20Photo credit: Sarah Franklin
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"I think when the novel went through many revisions and reiterations, a lot of Richard de Zoysa's biography got shared, and Maali Almeida emerged as a character. But that one detail stayed, the fact that he was a closeted gay man. Again, you write by instinct, and also I had to explain why was this privileged Colombo kid, going to these very dangerous places and hanging out with very dodgy characters. So one reason was perhaps ego. He found something he was very good at, and he thought he was bearing witness and doing this great service.
I think another reason - and also this idealism that he thought his photographs could change the world - but also I think as a closeted gay man, he could express himself sexually in the war zone. Normal rules didn't apply. And also I think this informed his world. He just believed in being a hedonist and enjoying his sexuality. And the only way he could do that was to go to these dangerous places where no one he knew would be watching.
I don't know if I could revise it now and make him heterosexual and have the story work quite as well. So that was the reason. Since then I've been questioned because now that debate is alive and well: the cultural appropriation debate. Are we allowed to write novels from the perspective of characters of different sexualities, genders, and ethnicities?
I think we are. I think that's the whole point of being a novelist or being a storyteller is that you are allowed to inhabit other consciousnesses and see the world through other points of view. Of course, you have to do it well. You have to do it with respect. You have to do the empathy. And you have to do it responsibly. I don't think we should be placing boundaries because otherwise, I have to write from a Sinhalese Buddhist, Sri Lankan, middle-aged dude...which is quite boring.
I'd like to explore different characters if I'm allowed to write more. So that was really the thinking. It wasn't a political decision. It just felt right for the character, and in the end, it was true to who the character was. And in the end, I think with the plot as well, it gives the novel another dimension."
What happens when we die? What happens to our memories and consciousness when our bodies cease to be? In the end, is it the things we did and the people we loved that give our lives meaning?
Shehan Karunatilaka is the multi-award winning author. He is known for his novels dealing with the history, politics, and folklore of his home country of Sri Lanka. He won the Commonwealth Book Prize and the DSC Prize for South Asian Literature for his debut novel, Chinaman: The Legend of Pradeep Mathew, and the Booker Prize 2022 for his second novel, The Seven Moons of Maali Almeida. In addition to novels, he has written rock songs, screenplays and travel stories. Born in Colombo, he studied in New Zealand and has lived and worked in London, Amsterdam, and Singapore.
www.shehanwriter.com
https://wwnorton.com/books/9781324064824www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
What happens when we die? What happens to our memories and consciousness when our bodies cease to be? In the end, is it the things we did and the people we loved that give our lives meaning?
Shehan Karunatilaka is the multi-award winning author. He is known for his novels dealing with the history, politics, and folklore of his home country of Sri Lanka. He won the Commonwealth Book Prize and the DSC Prize for South Asian Literature for his debut novel, Chinaman: The Legend of Pradeep Mathew, and the Booker Prize 2022 for his second novel, The Seven Moons of Maali Almeida. In addition to novels, he has written rock songs, screenplays and travel stories. Born in Colombo, he studied in New Zealand and has lived and worked in London, Amsterdam, and Singapore.
"I think when the novel went through many revisions and reiterations, a lot of Richard de Zoysa's biography got shared, and Maali Almeida emerged as a character. But that one detail stayed, the fact that he was a closeted gay man. Again, you write by instinct, and also I had to explain why was this privileged Colombo kid, going to these very dangerous places and hanging out with very dodgy characters. So one reason was perhaps ego. He found something he was very good at, and he thought he was bearing witness and doing this great service.
I think another reason - and also this idealism that he thought his photographs could change the world - but also I think as a closeted gay man, he could express himself sexually in the war zone. Normal rules didn't apply. And also I think this informed his world. He just believed in being a hedonist and enjoying his sexuality. And the only way he could do that was to go to these dangerous places where no one he knew would be watching.
I don't know if I could revise it now and make him heterosexual and have the story work quite as well. So that was the reason. Since then I've been questioned because now that debate is alive and well: the cultural appropriation debate. Are we allowed to write novels from the perspective of characters of different sexualities, genders, and ethnicities?
I think we are. I think that's the whole point of being a novelist or being a storyteller is that you are allowed to inhabit other consciousnesses and see the world through other points of view. Of course, you have to do it well. You have to do it with respect. You have to do the empathy. And you have to do it responsibly. I don't think we should be placing boundaries because otherwise, I have to write from a Sinhalese Buddhist, Sri Lankan, middle-aged dude...which is quite boring.
I'd like to explore different characters if I'm allowed to write more. So that was really the thinking. It wasn't a political decision. It just felt right for the character, and in the end, it was true to who the character was. And in the end, I think with the plot as well, it gives the novel another dimension."
www.shehanwriter.com
https://wwnorton.com/books/9781324064824www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcastPhoto credit: David Parry/Booker Prize Foundation
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In this episode of the Speaking Out of Place podcast, Professor David Palumbo-Liu interviews Ching-In Chen & Kate Hao about the cancellation of the Asian American Literary Festival 2023.
This August, the Asian American Literary Festival was to take place in Washington, DC.. The longstanding event had been on hiatus because of the pandemic, so this year’s event had generated a lot of buzz. Organized by the Smithsonian Asian Pacific American Center (APAC), the event had already garnered substantial investments and expectations from both national and international groups and states.
Ching-In Chen is a poet who was curating a festival event featuring books by trans and nonbinary writers. Kate Hao is a program coordinator who was on contract with the Smithsonian for the festival. They discuss the controversy and the issues it raises about art for the community vs. art that must conform to state institutional preferences and politics. We discuss why this festival is absolutely essential for the present day, where we have Asian Americans being used to help dismantle affirmative action, and where we see persistent and deadly acts of anti-Asian violence. We also hear about possible plans to go forward without the Smithsonian, and ways we can help support the artists and organizers.
https://www.chinginchen.com
www.palumbo-liu.com
https://speakingoutofplace.com
https://twitter.com/palumboliu?s=20 -
"So you're afraid to change cause you don't want people to call you strange. So I sort of get that. But I grew up in a very different situation. I'm actually always surprised that I'm even in communication with my parents at all. I didn't think anybody in my family would want to have anything to do with me cause that was the message I got from the world when I was a kid, that people do not want to have anything to do with queer people other than queer people. That was what I understood, that queer people themselves didn't even want to have anything to do with one another. And so I was putting myself in training, you know, from the age when I figured out that I was into guys, which was very young. When I was in elementary school, I was in training for the day I leave my parents' house, they find out I'm gay and never speak to me again.
Now, that's not how things went, but if you have that idea, if you already have the idea that everyone in your life is going to reject you, then that makes it easier to write your trauma because you don't think you have anything to lose. And part of our fear about writing that which is intimate or personal or traumatic has to do with the fact that we are afraid that, yeah, I'll have the good piece of writing, but I lose this really wonderful relationship in my real life, and I don't want to lose my relationships.
Moving forward in time, I think it's different for me now. And I think it's easier for me to write into a kind of risk because I have trained myself to a point where I don't think about that risk as I am writing. I put myself in a position where I only have to think about that risk once I am at a point in a draft. And by that time the poem is so good, I don't care about that relationship. But in the beginning, my goal is lines. Oh, that sounds good! Oh, that sounds good. Oh, this is interesting. Oh, I might be able to use this piece. If you take things down to the word, to the fragment, to the line, in some cases, to the sentence, to the paragraph, and you start putting things together, then you can begin to put them together because they go together, not cause they're about you in any particular way."
How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?
In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown’s first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University.
www.jerichobrown.com
www.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?
In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown’s first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University.
"So you're afraid to change cause you don't want people to call you strange. So I sort of get that. But I grew up in a very different situation. I'm actually always surprised that I'm even in communication with my parents at all. I didn't think anybody in my family would want to have anything to do with me cause that was the message I got from the world when I was a kid, that people do not want to have anything to do with queer people other than queer people. That was what I understood, that queer people themselves didn't even want to have anything to do with one another. And so I was putting myself in training, you know, from the age when I figured out that I was into guys, which was very young. When I was in elementary school, I was in training for the day I leave my parents' house, they find out I'm gay and never speak to me again.
Now, that's not how things went, but if you have that idea, if you already have the idea that everyone in your life is going to reject you, then that makes it easier to write your trauma because you don't think you have anything to lose. And part of our fear about writing that which is intimate or personal or traumatic has to do with the fact that we are afraid that, yeah, I'll have the good piece of writing, but I lose this really wonderful relationship in my real life, and I don't want to lose my relationships.
Moving forward in time, I think it's different for me now. And I think it's easier for me to write into a kind of risk because I have trained myself to a point where I don't think about that risk as I am writing. I put myself in a position where I only have to think about that risk once I am at a point in a draft. And by that time the poem is so good, I don't care about that relationship. But in the beginning, as I was saying to Mia earlier, my goal is lines. Oh, that sounds good! Oh, that sounds good. Oh, this is interesting. Oh, I might be able to use this piece. If you take things down to the word, to the fragment, to the line, in some cases, to the sentence, to the paragraph, and you start putting things together, then you can begin to put them together because they go together, not cause they're about you in any particular way."
www.jerichobrown.com
www.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
Have you ever experienced the feeling of being alone and not having a community? How can we build an atmosphere of inclusion and greater understanding?
Brooklyn-based artist Elliot Lee fuses dark pop melodies with edgy vocals and innovative electronic-rock soundscapes to create an unpredictable sound, acting as a voice for the voiceless. Elliot Lee holds an awareness of what music that is unhindered by norms can do for the underrepresented. Elliot’s single "Easy To Be You” is dedicated to the LGBTQIA+ community and was released during PRIDE Month. Elliot confides that the release is, "about struggling with self image and identity expression as a queer person.
"I started to feel like a person who wasn't really me, in that world of being super feminine. It's definitely a night and day difference from that and when, for a while, I was super masculine and people were gendering me. Looking at me, they'd say I was a boy. Those two different worlds are very different. And how people treated me was like night and day. I definitely got more respect when I was masculine. I'd find from people, especially men, were more willing to listen to me and willing to hang out with me and all that without making it weird.
I've always been outspoken, partially because of my autism, I think, because I just don't really have a filter and I find that in a lot of my relationships, I overshare sometimes. And I talk about things that maybe weren't the right thing to talk about to that person. And I've learned to get better at that. But music has been more of an outlet for me to be okay with saying whatever I want to say. And there aren't really boundaries, so I don't have to worry about that anymore.
So in my image, I'm just kind of me, which is nice. I get to just be me and not worry about fitting into society or fitting into what people want me to be. I can overshare and I can advocate for things that mean a lot to me, and I can be open about who I am. And since I have this community of people supporting me, then I'm safe doing so."
www.elliotlee.com
https://song.space/2nldde/song/2477503www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
"So there is a small genetic but significant genetic component to sexual orientation. And it's slightly different in males and females. And interestingly, it's not general. So for example, if I were to have a gay brother, then the chance of me being gay would become higher. But if I have a lesbian sister, that does not change the chance of me being gay or vice versa.
If a woman has a lesbian sister, then the chance of her being attracted to women is higher. And if she has a gay brother, it doesn't make any difference at all. So it's not like gayness or straightness is what heritability is acting on. It's attraction to males or attraction to females. And that's a subtle distinction, but I think it's very important.
The other thing that is really interesting and fascinating is that there is, from a big meta-analysis that was done by the American Psychological Association, there is really no evidence whatsoever that links events in the family to your probability of being gay or straight or bi. So, well, that's a mystery.
If it's not how you were raised by your family and it's only a little bit genetic, what is it? Well, you know, I think you had a hint of some of it when you're talking about hormones. There is some evidence that hormonal exposure in utero matters. So, for example, if biologically female fetuses are exposed to what we call androgens, the class of male hormones, that includes testosterone, that increases the probability that the child who is born and then grows up will be attracted to women when they grow up. Even if that child is biologically female. Likewise, there seems to be something similar for gay men and exposure to estrogen and female sex hormones. That said, there's of course mystery. We're far from understanding in totality how the trait of sexual orientation arrives. And we also know that there are enormous cultural influences. There are societies that have sort of a revered place for homosexual behavior in the Pantheon and others where it is really looked down upon, and that seems to have influence on how this trait develops."
David J. Linden is a Professor in the Department of Neuroscience at the Johns Hopkins University School of Medicine. He is the author of Unique: The New Science of Human Individuality, The Accidental Mind: How Brain Evolution Has Given Us Love, Memory, Dreams, and God, The Compass of Pleasure: How Our Brains Make Fatty Foods, Orgasm, Exercise, Marijuana, Generosity, Vodka, Learning, and Gambling Feel So Good, and Touch: The Science of the Hand, Heart, and Mind. His laboratory has worked for many years on the cellular substrates of memory storage, recovery of function following brain injury and a few other topics.
www.davidlinden.org
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
David J. Linden is a Professor in the Department of Neuroscience at the Johns Hopkins University School of Medicine. He is the author of Unique: The New Science of Human Individuality, The Accidental Mind: How Brain Evolution Has Given Us Love, Memory, Dreams, and God, The Compass of Pleasure: How Our Brains Make Fatty Foods, Orgasm, Exercise, Marijuana, Generosity, Vodka, Learning, and Gambling Feel So Good, and Touch: The Science of the Hand, Heart, and Mind. His laboratory has worked for many years on the cellular substrates of memory storage, recovery of function following brain injury and a few other topics.
"So there is a small genetic but significant genetic component to sexual orientation. And it's slightly different in males and females. And interestingly, it's not general. So for example, if I were to have a gay brother, then the chance of me being gay would become higher. But if I have a lesbian sister, that does not change the chance of me being gay or vice versa.
If a woman has a lesbian sister, then the chance of her being attracted to women is higher. And if she has a gay brother, it doesn't make any difference at all. So it's not like gayness or straightness is what heritability is acting on. It's attraction to males or attraction to females. And that's a subtle distinction, but I think it's very important.
The other thing that is really interesting and fascinating is that there is, from a big meta-analysis that was done by the American Psychological Association, there is really no evidence whatsoever that links events in the family to your probability of being gay or straight or bi. So, well, that's a mystery.
If it's not how you were raised by your family and it's only a little bit genetic, what is it? Well, you know, I think you had a hint of some of it when you're talking about hormones. There is some evidence that hormonal exposure in utero matters. So, for example, if biologically female fetuses are exposed to what we call androgens, the class of male hormones, that includes testosterone, that increases the probability that the child who is born and then grows up will be attracted to women when they grow up. Even if that child is biologically female. Likewise, there seems to be something similar for gay men and exposure to estrogen and female sex hormones. That said, there's of course mystery. We're far from understanding in totality how the trait of sexual orientation arrives. And we also know that there are enormous cultural influences. There are societies that have sort of a revered place for homosexual behavior in the Pantheon and others where it is really looked down upon, and that seems to have influence on how this trait develops."
www.davidlinden.org
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast - Mehr anzeigen
