The gorgeous journal White Stag published two of my poems, “A Range” and “The Storm” in their #Neogoddesses issue, which is now available for purchase.
I started working as the managing editor for Interim, which has been an incredible experience so far. We’ve just finished putting together the annual print issue that will be out in early 2017 and is available for purchase. Please considering buying a copy.
I also started learning ballet and began writing fiction again. I plan on continuing both in 2017 and onwards.
I oversaw the education program as Head Teacher and Academics Coordinator for the English Language Center summer camp located at UCSB in Santa Barbara, CA.
I read a creative nonfiction piece “Ouroboros” at Neon Lit in Las Vegas, NV.
I presented my paper, “‘The World is Mediocre’: On Chaos and Existence in Haruki Murakami’s book A Wild Sheep Chase” as well as a small portion of my play “LAME C(ITY)++” at the Far West Popular Culture Conference in Las Vegas, NV.
I filmed and performed in the video poems for a Huffington Post article on Claudia Keelan’s new book Truth of My Songs: Poems of the Trobairitz.
I took part in an ensemble performance of an essay from fellow UNLV Creative Writing cohort member Michael Berger’s book, Ravish the Republic: The Archives of the Iron Garters Crime/Art Collective, which is a wonderful collection of essays that documents the existence, methods, and art of the Iron Garters, a collective that existed/exists in San Francisco. The reading took place at the Velveteen Rabbit in Las Vegas, Nevada on September 24, 2015. The ensemble piece was a devised performance that took one of the essays in his book and performed it throughout the audience and the outdoor space in which the reading was located. I also created a video of one of the “provocations” in the essay as an installation during the event.
It was really interesting to work with this group of poets/writers who have training in theater and improvisation. The piece flowed well and it was great to push back against the typical book or literary readings through a staging of a written text that was not originally meant to be a performed text. Michael Berger also pushed against the typical reading by using the Q&A as a jumping off point for the reading of portions of the text.
Coming up in a week, I’ll be writing a 10 minute play as part of a festival called 4×6 FEST. My play will then go into competition with other plays written over a period of 24 hours. All of these plays will be staged by directors and actors based in the Tampa Bay area. On June 28th, the winning play will be announced after each of these plays is produced publicly at the CL Space in Ybor City. I’m looking forward to this event! If you’re in Tampa, please join.
Just wrapped up a month long rehearsal process that culminated in a one-night-only workshop of selections of my play LAME C(ITY)++ at GASP! 2015 @ Tampa Museum of Art. It was awesome. I’m now seeking a venue/festival(s) in which to show the entirety of the play. I hope to eventually take it on tour.
“A Homecoming” with Elizabeth A. Baker (music) was presented at the Tampa Museum of Art as part of Five by Five 2014. “A Homecoming” is a multimedia dance performance in the form of an interactive happening. It is the third part of the うち・家 (home/home) trilogy created by TASK 沖縄。
All photos of “a homecoming” by Desiree Fantal at FIVE BY FIVE 2014, Tampa Museum of Art.
“A Trace of the Echo” (a work-in-progress) and “SIREN CALL (I will tell you something you don’t want to hear)” at The Japan Writers Conference – November 2nd, 2013 at Okinawa Christian University.
In addition to the performance and short dance video, I gave a brief talk related to writing for and making performance
For those interested in reading more, here are Talking Points given at the Japan Writers Conference.
For more info on the performance lecture:
“Autumn Widdoes, assisted by Maki Tatsuhiko, Tamura Kenji, Yamashita Sakurako, and Robert Duckworth”
“Performative Words: Writing for and Making Performance”
How do you enter into a new language with only the performative words that you know? This performace lecture will discuss how to create work for performance in Japan (performance art, poetic narratives for movement/dance theater, and plays), how to find both non-Japanese and Japanese collaborators/actors/performers to stage the work, and how to cultivate an audience, with a particular focus on doing this outside of the major cities and without networks. Additionally, we’ll discuss how to incorporate and enfold personal experience, the writing and unwriting of oneself into the texts, working with translations (and “anti translations”), and engaging with new language(s) and their complexities in one’s work without using it/them as simplistic ornamentation.