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Tuesday, April 26, 2011
Calling Artists/Film Makers/Animators: US Boat to Gaza
The Buffalo Infringement Festival: Submit, Endorse, Volunteer, Attend
The Buffalo Infringement Festival (BIF) is an 11-day long multi-genre arts festival in Buffalo, NY.
It is free for all artists to participate, everyone is accepted and artists keep 100% of the profits from their projects and performances. The art that is typically Under the Radar is exemplified.
The Buffalo Infringement Festival is a non-profit-driven, non-hierarchical grassroots endeavor bringing together a broad range of eclectic, independent, experimental, and controversial art of all forms. Visual, performing, musical, and media arts are all welcome here. Taking place in multiple venues in and around Buffalo’s Allentown District, the festival is an annual eleven-day event running from the last weekend of July through the first weekend of August.
Every summer, the streets of Buffalo come alive with scores of events by local and visiting theatre and dance companies, puppeteers, media artists, poets, comics, musicians, cabaret acts, digital designers, and miscellaneous insurrectionists.
The annual Buffalo Infringement Festival provides artists and audiences of all backgrounds the chance to come together, take chances, push boundaries, and explore uncharted territory because exciting art can happen anywhere, anytime, without a blockbuster budget.
The Buffalo Infringement Festival is dedicated to the belief that art has a greater purpose than simply to entertain or simply to make a quick buck. Unfortunately, the modern-day arts world is increasingly degenerated by commercialism, elitism, and close-minded-ness. In this climate, the vast majority of art inevitably grows more and more toothless, perfunctory, and irrelevant. To counter this, we have undertaken the task of clawing out a small niche where artists are free – both ideologically and financially – to create as they wish.
There are many festivals – nationally and internationally – that seek to promote “alternative art.” But, all too often, these endeavors are a victim of their own success. As they grow in popularity, they become part of the mainstream and, ultimately, suffer from the same commercialism and complacency that they set out to break free from in the first place.
To ensure that the same fate does not befall our “infringement” festival, we commit to the following ground rules:
To ensure that the same fate does not befall our “infringement” festival, we commit to the following ground rules:
1) Artists Participate for Free! There is no admission fee for artists and artists keep one hundred percent of the money that their project brings in at the door. The festival provides each project with a venue to perform in, three to five performance slots (sometimes more for outdoor events), and listings in our brochure and on our website. All other costs, issues, and needs are left for the artists to tackle of their own accord.
2) No one is Rejected! Anyone who gets in a Project Proposal before the submission deadline – as long their project is legal and physically do-able – will be accepted. No one is empowered to judge artists’ work as “worthy” or “un-worthy.” Everything is welcome.
3) No one is in Charge! The “infringement” festival is a non-hierarchical collective. There is no salaried staff. There is no official in a suit and tie telling people what to do. No one is making any money off of this (other than, hopefully, the artists). Instead, the festival is organized by a volunteer committee, which is open to anyone who wants in. All decisions are made democratically.
4) Keep it Cheap! The only thing our artists are NOT allowed to do is charge too much at the door. In order to foster a non-commercial atmosphere, the maximum admission fee that any “infringement” festival event can charge is $10.00 dollars per ticket. Many “infringement” events are offered on a “pay-what-you-can” basis or through some other alternative admission fee. Artists are strongly encouraged to take this approach.
What We Will Use the Money For: The biggest thing we do with the money we raise is printing our massive schedule brochure. Each year, as the festival increases in size, so does our schedule. The schedule is the number one way that we help the artists advertise about their shows as it contains a small description of each project and the times/locations where it can be seen. We get the schedule printed in our local free arts publication, Artvoice.
They have a circulation of more than 60,000 papers each week. Last year we had to purchase 16 pages of the issue in order to fit our schedule and this year is expected to be even bigger. We also use the money to print up other promotional materials (postcards, posters, etc.)
We use these materials to solicit applications, raise awareness and promote the festival. Another thing we do with the money we raise is to create merchandise to sell (T-shirts, stickers, magnets, posters, etc.) which helps us keep money flowing into our budget from year to year, helping to make the festival self-sustaining.
We also use some of the money to rent sound equipment and to pay people who are qualified to run that equipment for some of the venues during the festival. When we have money to pay for these rentals, this helps keep artists from having to contribute their profits to rent their own equipment and to pay sound techs, etc.
SUBMIT PROPOSAL: http://www.infringebuffalo.org/submit/
TO ENDORSE (little as one dollar do more!) http://www.kickstarter.com/projects/2136275345/buffalo-infringement-festival-2011?ref=live
WEBSITE: http://www.infringebuffalo.org/
(We have no poets! --> shameful!)
You have 5 days left!
VOLUNTEERS NEEDED! FEELING COOPED UP? Wanting to do something cool? Then do this!
Keep it alive people, we all know our art is often all we have.
Peace,
Sue
THANK YOU FOR HELPING TO MAKE THE BUFFALO INFRINGEMENT FESTIVAL POSSIBLE FOR 2011 AND BEYOND!
Sunday, April 24, 2011
Help Empower Japan: Send Postcards in Solidarity (PYA)
Please see current album here of postcards,
you can live anywhere and help!
In wake of the massive 8.9 magnitude earthquake that hit the Pacific Ocean, Pakistan Youth Alliance proposed the creation of a charity project that mobilized the power of youth to participate in spreading relief to Japan. Students and alumni from both the University of British Columbia and the University of Calgary committed to this project.
PYA Canada is fully supporting this project and wants everyone to participate in this great cause. This is important for students to be able to contribute with their creativity so their lack of personal funds does not hinder their compassion to help relief efforts.
Everyone is asked to create a postcard (4" x 6" OR 5" x 7" ) with supportive, positive, hopeful and encouraging messages via pictures and text. The postcard will target envisioned recipient(s) according to age and gender: family, elderly, adults and children. The collection of art pieces will be filtered for appropriate content according to our guidelines before being sent.
IF YOU CANNOT MAIL/GIVE YOUR POSTCARD IN PERSON OR IF YOU'RE OUTSIDE OF CANADA AND WANT TO PARTICIPATE:
Please scan you postcard or send the copy of your digital postcard (jpg) at pya.canada@gmail.com
Facebook event HERE
Please scan you postcard or send the copy of your digital postcard (jpg) at pya.canada@gmail.com
Facebook event HERE
They will print it for you without any cost and will add to our collection.
The postcards will be allocated in different shelters around various affected regions in Japan. We are currently connecting with Red Cross in Japan to aid in the distribution of postcards. Our goal is to have 500 postcards divided and distributed to reach 10-20 locations.
© 2011 Sana Khan International PYA Canada
Disclaimer:
Your creation, if you wish, will be posted on the internet for promotional purposes only. We do not hold responsibility if the image is taken by a third party for their personal use. You hereby acknowledge that any work posted online is liable to be stolen or misused and waive any accusation against our team.
Our pledge to you is that we will post it on the gallery of our website (i.e under the project named: Empowering Japan) with your description. This is only for promoting the project. We are not accountable if the image was used for other purposes than the above mentioned. You hereby waive the right to take legal actions against the misuse of your image once it is in public circulation.
The team holds the right to reject any postcard due to content deemed inappropriate by us. By submitting your postcard to our team, you are agreeing to these terms of use.
Tuesday, April 19, 2011
Translation Of Letter Written by Egida Beretta Arrigoni (Vittorio's Mother)
One has to die to become a hero, to hit the headlines and to have TV crews around the house, but does one have to die to stay human?
I recall Vittorio in the Christmas of 2005, detained and incarcerated in the Ben Gurion Airport, the scars left by the handcuffs that cut his wrists, the denial of any contact with the consulate, the farcical process. And I recall Easter that same year, when just across the Allenby Bridge at the Jordanian border the Israeli police blocked his entrance in the country, put him on a bus and, seven against one (one of the seven was a policewoman), they beat him up “with skill”, without leaving any external marks, like the real professionals they are, then hurling him to the ground and throwing at his face, as a last scar to add to the others, the hair they had ripped off him with their machines.
Vittorio was unwanted in Israel. Too subversive, for having joined his friend Gabriele one year earlier and demonstrated along with the women and men of the village of Budrus against the Wall of Shame, teaching them the lyrics and singing together our most beautiful partisan song 'O bella ciao, ciao...'.
Back then no TV crew came by, not even when in the Fall of 2008 a commando attacked in Palestinian waters off Rafah the fishing boat he had boarded.
Back then no TV crew came by, not even when in the Fall of 2008 a commando attacked in Palestinian waters off Rafah the fishing boat he had boarded.
Vittorio was incarcerated in Ramle and soon after sent back home with nothing but the clothes on his body. Nevertheless, I cannot but be thankful to the press and television that have approached us with composure, that have 'besieged' our home with restraint, without excesses and that have given me the chance to talk about Vittorio and about his ideals and the choices he made.
© Mohammed Elshamy
This lost child of mine is more alive than ever before, like the grain that has fallen to the ground and died to bring forth a plentiful harvest. I see it and hear it already in the words of his friends, above all the younger among them, some closer, some from afar. Through Vittorio, they have known and understood, and now even more, how one can give 'Utopia' a meaning, like the thirst for justice and peace, how fraternity and solidarity still stand and how, as Vittorio used to say, 'Palestine can also be found at your doorsteps'.
We were a long way from Vittorio, but now we are closer than ever, with his living presence magnified at every passing hour, like a wind from Gaza, from his beloved Mediterranean, blowing fierily to deliver the message of his hope and of his love for those without a voice, for the weak and the oppressed, passing the baton.
Stay human.
____________________________________
Egidia Beretta Arrigoni | Madre di Vittorio Arrigoni
Bisogna morire per diventare un eroe, per avere la prima pagina dei giornali, per avere le tv fuori di casa, bisogna morire per restare umani? Mi torna alla mente il Vittorio del Natale 2005, imprigionato nel carcere dell’aeroporto Ben Gurion, le cicatrici dei manettoni che gli hanno segato i polsi, i contatti negati con il consolato, il processo farsa. E la Pasqua dello stesso anno quando, alla frontiera giordana subito dopo il ponte di Allenbay, la polizia israeliana lo bloccò per impedirgli di entrare in Israele, lo caricò su un bus e in sette, una era una poliziotta, lo picchiarono «con arte», senza lasciare segni esteriori, da veri professionisti qual sono, scaraventandolo poi a terra e lanciandogli sul viso, come ultimo sfregio, i capelli strappatagli con i loro potenti anfibi.
Vittorio era un indesiderato in Israele. Troppo sovversivo, per aver manifestato con l’amico Gabriele l’anno prima con le donne e gli uomini nel villaggio di Budrus contro il muro della vergogna, insegnando e cantando insieme il nostro più bel canto partigiano: «O bella ciao, ciao…»
Non vidi allora televisioni, nemmeno quando, nell’autunno 2008, un commando assalì il peschereccio al largo di Rafah, in acque palestinesi e Vittorio fu rinchiuso a Ramle e poi rispedito a casa in tuta e ciabatte. Certo, ora non posso che ringraziare la stampa e la tv che ci hanno avvicinato con garbo, che hanno «presidiato» la nostra casa con riguardo, senza eccessi e mi hanno dato l’occasione per parlare di Vittorio e delle sue scelte ideali.
Questo figlio perduto, ma così vivo come forse non lo è stato mai, che come il seme che nella terra marcisce e muore, darà frutti rigogliosi. Lo vedo e lo sento già dalle parole degli amici, soprattutto dei giovani, alcuni vicini, altri lontanissimi che attraverso Vittorio hanno conosciuto e capito, tanto più ora, come si può dare un senso ad «Utopia», come la sete di giustizia e di pace, la fratellanza e la solidarietà abbiano ancora cittadinanza e che, come diceva Vittorio, «la Palestina può anche essere fuori dell’uscio di casa». Eravamo lontani con Vittorio, ma più che mai vicini. Come ora, con la sua presenza viva che ingigantisce di ora in ora, come un vento che da Gaza, dal suo amato mar Mediterraneo, soffiando impetuoso ci consegni le sue speranze e il suo amore per i senza voce, per i deboli, per gli oppressi, passandoci il testimone.
Restiamo umani.
Egida Beretta Arrigoni
***
Free Gaza:
http://www.FreeGaza.org
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