Let’s start with the debut of the Season Six trailer of Racialicious fave, True Blood. There are times when I can’t remember whether or not I actually genuinely like this show anymore, but this does a pretty good job of getting me hyped for the new season (and the new roundtable) which airs on HBO, June 16th.
By Guest Contributor Neelanjana Banerjee
Soon-to-be-made indie film Farah Goes Bang, co-written by Laura Goode and Meera Menon, follows three friends in their twenties–one Persian, one Indian, and one white–who hit the road to campaign for John Kerry in 2004. One of them is also on a quest to lose her long-lingering virginity along the way. The writers describe the film as “a valentine to contemporary feminism, youth in revolt, and the passionate politics of idealism,” but most of all it represents the pair’s common “bottom line” in storytelling, one not very popular in mainstream media today: to represent women in art as women see themselves in life.
Despite their common interests, Meera and Laura hail from very different backgrounds and artistic points of view. A filmmaker born and raised in New Jersey, Meera is a first-generation Indian American of Malayali descent; her father, Vijayan Menon, is a prominent film producer in her family’s home state of Kerala. Laura, a novelist, poet, essayist, and dramatist of primarily Italian and Irish descent, grew up outside Minneapolis, MN; her 2011 young-adult novel Sister Mischief, examines, among other things, this white-dominated suburban setting.
Here they discuss their different approaches to representation and how the script for Farah Goes Bang tries to build bridges, and how you can help make this film a reality.
by Guest Contributor Tiffany Bradley, originally published at BlackEstinienne
One of my friends thoughtfully shared a link with me about Kickstarter’s impact on indie artists: “Kickstarter Expects To Provide More Funding To The Arts Than NEA.” To which I squealed, “NEA funding is a pretty low bar!” Not to disdain the valuable work of the National Endowment for the Arts, but their impact on individual artists is negligible, and on individual artists of color…minimal. To assume otherwise is to misunderstand the role of the NEA.
The NEA funds organizations, not artists. People create art, teach kids, and perform. Institutions showcase these artists, give them space to grow, and a platform to share their vision of the world. But institutions are gatekeepers and serve the interests of structural inequity.
Last fall, panelists John Killacky, Dr. Susan Cahan, and former NEA Deputy Director for Programs A.B. Spellman shared their experiences with a group of culturally specific arts organizations in NY. For those of you that don’t speak arts manager, “culturally specific organizations” are those that focus on a non-white culture (i.e. people of color.)
A lot of ground was covered between these three leaders, but the best was a historical perspective on these organizations. Cahan outlined their growth as a “gesture of integration that was really a form of segregation.” To get funding, artists of color had to form organizations and partner with [older, whiter] nonprofits. Spellman pinpointed the detrimental effect: “a part of the trap is that you aspire to institutionalize yourself.” Continue reading