“Call for Submissions: I Don’t Do Boxes, Issue 2
Now seeking submissions from queer youth, musicians, artists, poets, and writers for the second issue of I Don’t Do Boxes, a magazine exploring LGBTQ experience. This issue will focus on the power of song and voice, and feature original music, lyrics, stories and sound recordings.
Selected submissions will be curated into a digital album and Homoground Mixtape with an accompanying zine of writings/artworks, and distributed to queer communities around the country. We hope this issue will provide a creative outlet for queer-identifying musicians and youth to share music and stories that go beyond “coming out” and celebrate being in the here and now. Let’s make some noise, let’s celebrate equity, and sing a protest anthem everyone can hear…
The I Don’t Do Boxes editorial team”
via Out Loud | I Don’t Do Boxes.
“It is not so much that cultural information wants to be free, as that it resists attempts to be sold like fruit from a roadside stand and valued like currency. But it is not as free as the aether, flowing equally throughout the universe. Culture is made from traces of meaning, which are only ever perpetuated in human lives. Just as those lives can be interrupted, so can culture. If you kill off the means by which that collective memory sustains itself, if you continue to treat that memory as Other and deny it its own existence, it is not there for you to use. We have created this gap in meaning, and so petroglyphs cannot flow freely across the line.”
via limits of free culture | THE STATE.
Cristina De Middel, untitled photograph from ‘The Afronauts’ series (all images courtesy and © Cristina De Middel)
“In the 1960s, while the United States and the Soviet Union were playing out their battle of who would make it to the moon first and so dominate the galactic skies, a former high school teacher in Zambia decided his country needed a space program. Edward Festus Makuka Nkoloso founded the unofficial Zambia National Academy of Science, Space Research and Philosophy in 1960, and over the course of the next few years, attempted to launch the first Afronaut — his term —into space. One of the chosen cadets was 17-year-old Matha Mwambwa, along with two cats, but she never made it very far due to a lack of funds and equipment, as well as the fact that she became pregnant.”
via Meet the Afronauts.
“Celebrating the female experience, achugar’s work focuses on the sensuality – not sexuality – and pleasure of movement and the body. Her development of feminine expression aims to channel energies and cultivate communal vibrations.
achugar draws on the use of ritualized sound and movement to encourage a social bond between the audience and the performers. Patterned and repetitive sequences strengthen and clarify the dancers’ emotional intent, and empower the audience to actively engage with the performance. Recurring sounds construct an otherworldly, meditative space in which the choreography comes to life.”
via luciana achugar: Cultivating Communal Vibrations — The Green Room — Walker Art Center.
“Straightjacketed into the manipulative politics of names, of divide and conquer, their futures were used as collateral for loans the government brokered with the IMF and foreign commercial banks to feed the growing appetites of the new ruling class that emerged after the war, hands bloodied, drunk on power, ready to sell out its people in a heartbeat if it meant sidling up a step closer to the one percent of more developed capitalist democracies.”
via The War, in a Footnote | Mass Review.