Social Media, The Music Industry and Global Good: Chats with Lupe Fiasco, Kenna and more!

"the ink of a scholar is worth a thousand times more than the blood of a martyr

we came through the storm nooses on our necks
and a smallpox blanket to keep us warm
on a 747 on the pentagon lawn
wake up the alarm clock is connected to a bomb
anthrax lab on a w. Virginia farm
shorty ain't learned to walk already heavily armed
civilians and little children is especially harmed
camouflaged Torahs, Bibles and glorious qurans
the books that take you to heaven and let you meet the Lord there
have become misinterpreted, reasons for warfare
we read 'em with blind eyes I guarantee you there's more there" --Lupe Fiasco's "American Terrorist"

These don't seem to be the typical lyrics of a Grammy award winning rapper and hip hop artist. Believe it or not, they are. He is an artist dedicated to use his fame, power, art form, and media to promote social justice and change. Lord knows we need it. In my meeting with Lupe Fiasco at the UN Digital Media Lounge, I got to personally talk to him as well as listen to other people in the industry, including Kenna, Musician & Founder of Summit on the Summit, Simon Isaacs, VP Sustainability Marketing, ignition Azita Ardakani, Founder & Chief Idea Officer, Lovesocial Laura Checkoway, Contributing writer for RollingStone.com and former senior editor, Vibe, and Elizabeth Gore, Executive Director of Global Partnerships, UN Foundation. All of them had some new things to say about how Digital Media was being used in an age of media, music, pop culture, and fame--as well as an age of social justice, development, and equality/health (hopefully!)

Basically, Lupe and Kenna are both musicians who focus on using their fan base to make a change. The crew all together did a "Summit on the Summit" of Mt. Kilimanjaro, climbing the mountain to raise awareness for the needs of clean water in developing countries. Kenna is ethiopian and as a child his father came down with a water borne illness. Clean water is the single most important factor and needs in a lot of communities. They used digital media, blogposts, movies, and music to publicize their climb, which was a symbol of solidarity, persistence, and Africa.

Lupe is a rather coy, unassuming, hip kind of guy who likes to surround himself with people who "Take action and do cool shit." He described the climb as "a crucible made in the pits of hell. But I've always been attracted to doing something, you know what I'm saying? That don't make sense? You know ac-tiv-ity. Being active. People who are doing very positive things, world changing things. I'm opposed to throwing eggs as the popi, I'm just not down with that. I don't organize much, I just follow along with my friends." That isn't true according to Kenna though. Lupe organizes a lot! After Haiti, Lupe was immediately calling friends, organizing a group of people in order to cut a benefit song for Haiti.

Sometimes the UN doesn't catch on so quickly to the efforts that celebrities put out. When 21 million people were impacted in Pakistan from the recent atrocities, a lot of musicians came out wanting to do something, but the UN didn't move quickly enough to take advantage of that, says Elizabeth Gore, from the UN Foundation.

Hand in hand with this organizing is a positive note from the press. Laura Checkoway writes for Rollingstone, focusing on rappers, RB singers and hiphop artists who she things are "poets from the streets, speaking about social justice issues otherwise being ignored." Instead of talking or provoking gossip, she tries to create a more productive portrait. For instance, she writes a story about Lil'Wayne doing a story about the poverty he grew up in in New Orleans. How he was a weirdo and a shortie (not like the women!) and using his uniqueness to become a superstar (though he did write the infamous lyric in "A Milli" that goes "I'm a venereal disease like a menstrual bleed..."). Of course, as a writer she claims, most people want the dirt and fluff out of her. She has faced a lot of "barriers, trying to deliver the real."

Azita Ardakani, from Love Social, does a lot with social media. Given 48 hours after a crisis, she builds strategies for social media campaigns to get people to learn about the issue, donate, and be inspired to take further action. Its hard though. She claims that as social media grows and there is just so much of it, you have to be super creative in trying to get support, as everyone has a cause. "I don't even bother putting 'Donate' in some of the twitters or texts. I just gloss over that word myself."

All of these people have something to offer. Lupe says its particularly important for America to reach out. He says, "Most people who live in America have ties to other countries." Activating a little part of your fan base wherever that is is enough to raise awareness to the "common man. Humans, excuse me. I just hate when I say stuff like that." (he is very particular with words!). Lupe is a Muslim from Chicago, otherwise born as Wasalu Mohammad Jaco. He offered then what he called an anecdote from Islam. As he says, "Human beings are compassionate. From the pope to the poor man to the rich man, humans have an innate sense of compassion." He claims "My brand is about Social justice. Any time there is a movement to mute or censor or block what I'm doing, people talk. Child soldiers, tolerance, family, religions. I'm sayin it in my music. I hit those walls, and then it goes to the editorials."

Kenna has been going to the editorials lately. He was marching on Washington to pass the "water for the world act" which makes a commitment to helping to supply clean water to developing and needy nations. To Kenna, water is his "issue" he is most passionate about. "It comes back down to purpose at the end of the day, if you don't have a purpose then you are wandering aimlessly." He tried to climb Mt. Kilimanjaro 5 years ago alone and couldn't do it. It "kicked my ass" as he said. With "my allies, I could. What I learned is we won't reach out life's mountain top, our fight for good or change, we won't reach it by ourselves. We won't get to the top without each other."

Towards the end, we asked Lupe if he could give us a concluding anecdote. Lupe is a Muslim from Chicago, otherwise born as Wasalu Mohammad Jaco. He offered then what he called an anecdote from Islam."I'm a Muslim, so I'll give you one of those foundations from Islam. Its Remembrance. Reminder. Human beings are innately forgetful. Constantly remind yourself of what you are doing. Remember there are people below and above you."

When I got to talk to Lupe one on one without the others later on, I asked him if he thought his social justice messages got in the way of his art--a common issue in explicitly political art works. He said, "Naw. Pablo Picasso painted Guernica and it is one of the greatest pieces of art of all time. It was POLITICAL. It was all about social justice. So I say Guernica the World!"

Guernica the world. Not a bad idea. I hope he comes to see my play "War in Times of Love," which is all about post-conflict Balkans--politics and art!

Grassroots Girls Go Global and $40 BILLION CAMPAIGN!

5 Minutes to write until the next panel.... and GO!

CEO of Vivanista (a social network of philanthropists and fundraisers), Layne Gray, asked a panel of women involved in strategic, philanthropic, and aid agencies for women and children, "Its been 10 years since the Millennium Development Goals (MDGs) have been announced. We are still struggling with universal education (2) gender equality (3) child health (4) and maternal health (5). How do we amp up conversation about women's issues?"

With 5 years left to meet the UN MDGs, we do not have much time. At this moment, the photo in TIME of the Afghan women whose nose had been cut off pops into my head. Gender Equality for Afghanistan?

Four other women sit on the panel, clearly eager, angry, talented, and hopeful. They respond. Nainab Salibi goes first. She is the Founder of Women for Women International, who has been described as a new age Mother Theresa, only "better dressed." As an Iraqi whose father flew Saddam Hussein's private plane, she knows a thing or two about war. Her organization has touched 270,000 women and girls in conflict zones by providing access to education and scholarships, practical jobs, and other support to empower women in places like Bosnia, Afghanistan, Rwanda. By offering "Women to women" partnerships where a wealthier woman sponsors another woman in exchange for letters or photos, her organization creates hope for women (ranging from Bosnian rape camps to the hills in Afghanistan) who say, "I'm too hopeless to be helped." Zainab calls for "Humility and help, and a greater interaction between American women and women abroad." Right now, $0.02 of every $1.00 of aid goes to girls/women. She calls for amping up the March 8th World Women's Day in the US. She described Women's day in Bosnia as a time filled with flowers, where a Bosniak woman can hold the hand of a Serbian woman and say "Enough is enough." For Zainab, women in the US need to say, "Enough is enough" as well. "This is the women's and girl's century. We need to speak up and speak loud, get angry!"

Kimberly Perry, the Director of Girl Up as part of the UN Foundation's campaign to meet the MDGs, replies calmly, but boldly. She has faith in the generosity of American Girls and women, why she sponsors initiatives like "High $5" where youth can encourage the donation of $5 to the Foundation. Apparently, its really "cool." 53% of girls across America are willing to donate their own money to causes and hers is one of them. But is this enough?

Nancy Lublin, the CEO of DoSomething is feisty. Her organization has empowered over 1 million kids and teens to create projects that aid others abroad and at home. She says, "If you look on Google Analytics and research crisis stories on Tsunamis or Katrina, you don't get much." When women and girls depend on the connection and story and there is simply no story, how can they help? On top of that, 10 years after the MDGs, they have not been fulfilled. On TOP of that, organizations trying to meet the goals depend a lot on the generosity of "feisty, ambitious, and powerful" women and girls in America who donate $5 or $27 here or there. "Where is the corporate funding? 10 years after the MDGs, this is a global embarrassment! God is pissed. She's really mad!" Her call? Make the STORY! BLog! Get the word out. Her message? "25,000 girls under 15 will become child brides TODAY alone. Be pissed. Tweet it! Tell the story. Do Something!"

Nancy Zhang, a teen who is an International Trustee of Key Club international. She sees that the 250,000 members of Key Club International are mostly girls. As she says, "Girls want to be popular, without standing out too much." They like to do things in groups and collaborate. When the older women on the panel ask her if she can help carry out the MDGs, she replies "yes" confidence.


yet i'm sitting here. I like the hopeful women sitting in front of me and the work they do. Its really powerful and really effective. I've worked with something like Women for Women before, called Women for Afghan Women. I know they do good, effective, powerful work.

However, these women in front of me are all asking for a change in dialogue in order to help meet these MDGs. Has the dialogue changed? They are asking me (a woman) to get angry. To talk. To tell stories. Well, I'm here to tell stories. However, as I've mentioned in my blog before, I'm a born skeptic. Buzz words like "Green" or "Think Globally, Act Locally" and "Party for a Cause" make me a little anxious. How can "party for a cause" and dialogue alone 5 years before the MDGs must be met save the 8 million young children who die each year of preventable causes, including pneumonia, diarrhea, malaria, and tuberculosis? There has to be something big. Well maybe the prayers (and dialogue) of these women were answered, because this "something big" is coming today.

At 2:00 Ban Ki-Moon, the Secretary General of the UN is going to announce the $40 BILLION campaign for the Global Strategy for Women and Children's health and how we are going to meet the millennium goals.

MDG 4 calls for a two-thirds reduction in under-five mortality and MDG 5 calls for a three-quarters reduction in maternal mortality and universal access to reproductive health.

Ban Ki-Moon better offer a damn good strategy. He is making this skeptic believe.

Note: facts and figures from UN documents supplied by conference

Just arrived: UN Week's Digital Media Lounge

Never in my life have I seen so many bloggers in one room.

I'm here at 92Y, one of New York's largest community and cultural centers. Immediately, I'm directed towards a room with large double doors, where there a few hundred bloggers are holding mics up to each other's faces, interviewing Marianne Williamson, number one best selling author who had just spoken, and typing away at Twitter and blogger, facebook and more.

Now I'm off to listen to a "What girls can teach the world" panel. Kimberly Perry, director of Girl Up, Nancy Lublin CEO of DoSomething, Zainab Salibi, Founder of Women for Women International, Nancy Zhang, INternational Trustee, Key club teen, and Layne Gray, CEO of Vivanista.

UN Digital Media Lounge! Follow Me!

All of you ghost followers who do not "officially" follow my blog, now is the time to click the button and make it official!

Why?

This Wednesday (and possibly Thursday) I'll be in NYC reporting from 92nd Street Y for the UN Week's Digital Media Lounge, covering stories I pick up from visiting world leaders and "do-gooders" trying to reach the UN Millennium Development Goals! I'll be there covering stories almost every hour from people like Zainab Salbi, founder of "Women for Women International," Nancy Lublin, CEO of "DoSomething," Tamara Krenin, the Executive Director of Women and Population for the UN Foundation," Kenna, the Musician and founder of "Summit on the Summit," Lupe Fiasco the Musician and Global Do-Gooder, among Many Many more!

Check it out: http://www.unfoundation.org/your-role/partners/un-partners/un-week-digital-media-lounge.html

Shout out to Sandbox Network for helping me get the passes and from the lovely ladies from the online version of The Yale Globalist international affairs magazine.

So follow me to get daily updates on the exciting happenings!

Post-Modern, Deconstructionist, Neo-Colonial, Diverse Approaches to War

Being back in America after a summer of automatic weapons, NATO, and barbed wire really opens you up to the absurdity with which we as Americans, at home, look at war "out there."

For instance. Shopping ("choosing") classes at Yale. I was interested in approaching war through different disciplines and approaches (philosophy, politics, history, literature). What I got instead was the "Post modern, deconstructed, neo-colonial approach" to suffering, security, and war. Now, I can do academic speak with the best of them, but somehow this approach is a little... removed. And not just physically. Is it missing the mark?

Sure, I think its better to see through the fog of war when you are outside of it, when you have fog lights, and when you have the blessing of distance and reason. In war, most people would lose their minds. Search for immediate answers and solutions. Take sides. Play defense. Its a life or Death situation. Therefore, academia and logic come to support these things accordingly. Nationalism becomes an academic institution. Linguistics are part of the national agenda. Therefore, it makes sense in many ways to study war before going into it and outside of it. No one wants a general who has never studied a war before!

Yet outside the wartime environment, I wonder how we imagine (or refuse to imagine) the suffering, strategy, pain, failure, and successes (how and if they exist) in wartime? At some point in the 20th century, the existence and critique of war took a whole new turn. When, finally, in 1928 with the Kellogg-Briand Pact, 15 nations (including France, US, Great Britain, Germany, Italy, and Japan) denounced war as an instrument of national policy, it seems like the critique and protest of war took a whole new level. If war was not just "politics by other means" as Clausewitz might have put it, but indeed an instrument (is this fair to say IS friends?), its seems like there are more alternatives to war. Are other instruments there? If warfare changed drastically since Clausewitz's time with modern weaponry and weapons of mass and systematic destruction, then there must be a sort of peacemaking that must also evolve that is mass and systematic. With the new type of peacemaking and new type of war, came a whole new type of criticism of war... mass criticism.

Mass criticism. Think of the intellectuals (Einstein included!) who were dragged into the peacemaking process in 1917-1919 after WWI. Think of the journalists during WW2. What about Rebecca West, the epitome of a "modern woman" critiquing and reporting on Nuremberg. Think of Vietnam and the mass protests. If anti-war protests ever reached a peak, it would probably be surrounding Vietnam. I haven't heard pop anti-war songs against Iraq, but think of those singing about leaving Vietnam (my personal favorite being Country Joe & the Fish's "The 'Fish' Cheer" or "I-feel-like-I'm-fixin-to-die," some lyrics being "put down your books and pick up a gun, we're gonna have a whole lot of fun/And its 1, 2, 3, what are we fighting for?/ Don't ask me I don't give a damn/ Next stop is Vietnam."). Think of the deaths from student uprisings. The mass movements and social protest. For our time, when Iraq costs more than Vietnam. When we are approaching a decade in Afghanistan. Where are the protests?

Or are they even necessary? Should we bother?

As Susan Sontag explains in her book "Regarding the Pain of Others," "The argument that modern life consists of a diet of horrors by which we are corrupted and to which we gradually become habituated is a founding idea of the critique of modernity---the critique being almost as old as modernity itself." I wonder if we just got tired of the fight to even protest it. Are we in an age of Mass Apathy? Did we got too comfortable with Wal-Mart and the war games we buy from their shelves for our Xboxs and PlayStations? Perhaps we don't care enough. Perhaps we don't see the repercussions that war spending has on our economy or on the lives of the families of soldiers.

Perhaps we just got too enthralled with protesting mosques to protest wars.

Yet, when I ask most people from my generation, they don't really think about the war. There isn't a forced conscription. They have never seen or held an automatic weapon. More interestingly, they think protests and social unrest have no place or point in American society. There are other ways. Get power. Get jobs. Get sex. Get money. Get it all, but don't lose your sense of morals! Get beyond that "european" social unrest. Protests and "social movements" are for anarchists and hippies... not hipsters or preps. To many in my generation, we think our parents were just smoking pot, holding signs, and screaming at "the man" because it was cool. Just like wearing American Apparel and dancing in dingy basements is cool now. Friends have told me, "If we want to make social change, its not through a perpetual party, so why protest? Protests are irrational." I'm not disagreeing.

So, "What to do." as they say in the Balkans.

At Yale, when we are sitting next to advisors to Presidents and former world leaders, we are too worshipful of the fact they are there to even ask meaningful questions. Students want to be friends with these guys and impress them with their quotations and Washington Post knowledge. We of all people could actually say something, probe, and maybe practice asking questions that still let us sit next to them the next class without losing our integrity and respect. If anything, we should be practicing this skill of asking those questions before we really screw up in the "real world." If I ask someone why they didn't ask a probing question, they respond: "Well, (fill in the blank topic: security, IS, history, lit) is just so complicated and I didn't want to seem stupid."

Is my generation habituated to apathy? Are we too comfortable?

or are we just restless and blow off steam in other ways....

Shekeled and Euroed: A Girl's Guide to coming back from the East

"Modern world don't ask why

cause modern world, build things high

now they house canyons filled with life.

Modern World I'm not pleased to meet you

You just bring me down." --Wolf Parade's "Modern World"

Back in Amurrrrrica from my 2 week hiatus in the Middle East, namely Israel and Jordan, after my brief jaunts in Athens and Belgrade coming from Prishtina. Granted, even though I was sick with a whooping cough, I had an urge to sing "Proud to be an American" when I touched down in New York (same urge I had in Macedonia using the most putrid bathrooms ever smelled 10 meters away). I had a surge of a sort of love and respect for the efficiency, organization, accountability, and other little (and big things) I had missed about this complicated, admirable, and terrifyingly powerful country. I had intended to write about "borders" (something most Americans don't encounter... ever) but something is a little more pressing.

My bank account.

Okay, not really. But coming back from the land of 4 shekel dozens of rugelah (Jewish chocolate pastry), .50 Euro lattes, and cheap 2 hour cab rides that seem expensive at the time, but end up being only $20. I was couch surfing and spending money really only on transportation and the occasional goodie, relying on the kindness of strangers to lend a car ride, a couch, or some chicken at shabbos or iftar. Oh the life of the traveler! Sounds romantic, eh?

Then I come to America. At first, I was most surprised at the lack of automatic weapons. A summer near NATO and the IDF will do that to you. The next thing I was surprised at was how efficient and accountable everything was. (Time near the Kosovo government will make you a little shell shocked coming back to America). Next, I was surprised that people generally obeyed traffic laws and did not drive next to back hoes tearing up the road with no traffic cones warning the public.

However, I am more surprised at how expensive basic living is. All that accountability and responsibility I was talking about before comes with a price. I went shopping today at Wal-Mart for some supplies. Don't judge. I don't have a Whole Foods near my house. I'm moving into a new house at school and really needed supplies like laundry detergent, dishwashing soap, toilet paper, staple foods and tooth paste. Not anything out of the ordinary.

At the check out, the boys in front of me had spent $80 on school supplies and soap for college. The Cashier, a rather plump woman who's tata's hung over the scanner, lamented the costs of underwear with the boys and how expensive it is to live. They said, "College is expensive." I said, "Tell me about it."

My turn. I scan my Tide. My non-organic dish soap. My Charmin toilet Paper. My only indulgence in all of this is a box of "Just Bunches" cereal and some Rembrandt tooth whitening mouth wash ($6.95). After all of this, and then more food and cleaning supplies, my total is $160. WTF.

The lady behind me is talking about how every time she comes to Wal-Mart she ends up spending $100. "You get your soap, your toilet paper, your tooth paste. You spend $100, get home and realize you didn't buy any food." I swipe a credit card and cringe. I can afford it and my economy size Tide is sure to last all semester, but still. That is not a pretty number.

I talk to the ladies and ask, "How do we live in America? How do people even get by if soap is $5.99 and minimum wage is $5.50/hr?" They complain about the cost of food. I say I'll become a vegetarian. Then I say I won't because its too expensive to eat fresh produce when a burrito is only $6.00 and I will spend that much on 6 apples at Gourmet Heaven in New Haven.

New Haven recently lost its sole supermarket, Shaw's, this past year. It leaves a student/poor food stamp neighborhood with no alternative other than a food co-op, minimarts, and an incredibly overpriced gourmet food store. Those ladies think Wal-mart is expensive, try shopping in a town without a supermarket, where a carton of milk will put you back $5.

I am just struck at how expensive basic living is in America (and Switzerland, where a small latte at the airport put me back about $6.50). I sometimes think, "How can we consume more when its so much more expensive??" And then I remember, "CREDIT." On my student side, I surely don't use that much toilet paper and a meager amount of laundry detergent (and I rarely do laundry...). I think I live pretty simply and do without a 32 oz. $7 Seventh Generation Laundry detergent (Tide is $6 for 50 oz.). I don't bother with dryer sheets and don't get caught up in gimic buys. Mostly because I drink coffee religiously and have a special budget for that....

In the mean time, I will reminisce about my .50 Euro lattes as I go back to paying $3.00 a latte and drinking about 3 of them a day because I am a sleepless ambitious college student, wanting to make it in this world. Doesn't that sound like a funny coincidence?

Good thing I bought a coffee maker.

Belgrade and the Theater of Necessity

In geopolitical lingo, the word "theater" describes a "region where active military operations are in progress" or more generally "a region where significant events and actions are played out." The world naturally has many theaters of this sort.

Somehow, Belgrade is a true theater, of both the artistic and geopolitical sense of the word.

During my time in Belgrade this weekend, I had the honor and pleasure of visiting with Borka Pavicevic, an iconic artistic, political, social, and activist figure in Belgrade for the past 30 or so years. She is an actress and theater maker by trade and part of the famed Belgrade circle of intellectuals, a now dying or disbanded breed that included Foucault, Habermas, Derrida, and Savic (who I also met) among others. Borka has an air about her. Probably 60 something, she wears slinky shifty dresses, old pearls, dons a bold dark stripe in grey hair, wears deep matte red lipstick, and never is seen without a cigarette. Her deep voice is a strange mix between an old bubby and a sex symbol. Her presence commands attention and her words reveal a depth of understanding in terms easily understood (to agree or disagree with!).

Borka Pavicevic

Today she is a leading chair at the Center for Cultural Decontamination in Belgrade and an active translator, writer, theater maker, and cultural envoy in Europe and the world. She works also with the Youth Initiative for Human Rights--the most effective, organized, and professional human rights agency I've ever witnessed. They have objectives, strategies, and achievable goals to promote democracy, civil engagement, and a revival of Serbian optimism for a new option and new alternative to old Nationalistic discourses that cling to Kosovo at the expense of progress.

As an artist in a theater of operations that has seen Turks, Austrians, Greeks, Romans, Germans, Russians, Internationals, the US, and more, she is very concerned with elements of identity--both as we understand and construct it. The Balkans have historically been a clusterf*ck of identities. In Borka's example: "Former professors of Marxism are now professors of religion!" Particularly now, when old religious and nationalist identities are reemerging in the vacuum of money, stability, and economy in Serbia, identity is a huge issue. She described the reemergence of these beliefs and ideologies--particularly with the Orthodox Church and its relationship to culture and even art.

One of her most memorable quotes to me was this, "A Church without belief is kitsch. Church and the theater require belief, a necessity. With a church, you can build a building and they will come when they need it. With a theater, you cannot just build the building. The people ARE the theater."

Borka, admittedly said that the Theater was mostly disbanded in the 1990s. Today, she is trying to bring it back. As she said, she NEEDS to bring it back to counteract the extremist nationalist, old-school-Serb dialog that holds back a lot of progress in Serbia. The theater gets to those people and the people are going to the theater. As a symbol of progress and peace herself, Borka is shaping a "Theater of Necessity" in Belgrade (not an official title mind you, but concept). There is an agenda in this theater (theater defined here by the people in it), an agenda to salvage, form, and show a process of forming an identity that will move Serbia forward and not keep it back.

The Theater is Necessary because Change is necessary or else Serbia will face dire economic, political, and social consequences (estimated to be on level with those of Greece's recent economic collapse.) When done well, the theater is a machine which we must desire to create and by which we rethink ourselves.

I have been reading current plays from the region, particularly those of Jeton Neziraj, a Kosovar playwright who has gained international renown for single handedly creating a theater in Kosovo, but a theater that actively helps the population rethink war, conflict, and identity. For those skeptics of political theater (I speak to those purists out there!), Neziraj's plays are not solely works of political theater, but are strong piece of literature, regardless of where you come from.

It got me to thinking about my theater. All of these artists are using the theater, not for commercial or entertainment reasons solely, but for a necessary political, ideological, and life-saving agenda. Theater, not just film, has always been a way of bearing witness to people and their actions in a way that film just does not achieve in the same way. It is a near religious experience when done well.

These artists NEED the theater they create and form. It begged me to rethink what I am creating, doing, and saying with my theater.

Immediately after talking to Borka, I contacted several dear theater making friends of mine, calling for a reform of our juvenile theater and coming to a greater intensity of purpose and ideas in what we create. What do we need in creating theater? Why do we need it? Do we even need it?

I beg of you to post responses about what you need in theater.

Responses, however random or unorganized they are, are below:

"I thought how wonderful it could be to teach kinesthetic response workshops to people all over the world. The workshops are aiming to get people in touch with their own center, to respond physically and emotionally to their own complicated thoughts and drives, in a creative, instead of destructive, way; as well as responding to others in the same ways." Timmia HF

"[Theater] goes deeper than that (or perhaps shallower), I'm talking about people like us. not every so-called intellectual is ever going to want to really think. Not every so-called artist is ever going to want to truly create and speak to God. But artists are modern-day prophets." -Timmia HF

"At Yale, in theater, and often, in class, we try to say and do things that are "necessary" because their necessity is a sign of their worth. We want to be good at making theater (or writing essays, talking in section), and surely, a
good theater-maker or thinker would produce work that is "important," "relevant," "vital," and "necessary." I do believe that this compulsive drive toward accomplishment is poison for the thinker and theater-maker. It makes the shows and the papers more boring than a pissing contest. The question is, what can take the place of that drive? If we are not guided in our thought and in our theater-making by love of praise, what are we guided by?" -Rachel P.

What does she want?

"Choosing/designing projects around what I consider to be theater's greatest asset: the fact that the actor/character may fail to achieve his goal at any moment, that the 2 hours of the play are the only chance, that the audience is bearing witness to a real attempt." --Rachel P

I encourage my theatrical community to continue posting ideas (by choosing to follow my blog!!) and keep this discourse going.

Our theater must be more similar to the geopolitical definition. "A PLACE WHERE SIGNIFICANT ACTIONS AND EVENTS TAKE PLACE."