INSIGHT Magazine | Issue 30 by INSIGHT by FOKUS

ISSUE 30 WWW.FOKUS.ORG/INSIGHT

CONTENTS

Issue 30: The Phoenix 02 03 04 05 14 16 18 24 26 29 32 34 41 42 43 44 48 53 56 57 58 60 68

LETTER FROM THE EDITOR COVER ART THE FLOCK NEW VIEW HELLO BLU3BIRD THE OTHER ANIMALS AMONG US ANNARTISTA EN COLOMBIA FRACMENTANDO EMOCIONS (FRAGMENTED EMOTIONS) PHOENIX REBIRTH OF THE YOUNG BLACK NATION CAN THE DRUMMER GET SOME? PIECES TIRED OF BEING THE PERSON I WAS YESTERDAY MA'AT REVERSE ENGINEERING FOKUS SPARKS BURNING BRIGHT IN THE FOREST OF NIGHT BATTLEFIELD RIVERS STAR ALARM INTERVIEW WITH THE HOLLOWAY YOUTH PROJECT REMEMBER, WE'RE BORN AGAIN EACH MORNING VISUAL ART

ARTICLES / INTERVIEWS

PHOTOGRAPHY

POETRY

MUSIC

CHIEF CURATOR / LAYOUT & DESIGN: ATIBA T. EDWARDS

Atiba is a perpetual visionary that likes to do art in the dark since it is easier to see the true light.

CURATOR: ALLISON MARITZA LASKY

Allison believes that children are the best artistsâ&#x20AC;&#x201D;they are individual universes of infinite creativity.

CURATOR: ANDREW MILENIUS

Andrew has always been on the fortunate side of the fence thinking about how the people on the other side of the fence feel, and he wants to break down that fence.

CURATOR: JOLILLIAN (JOZI) ZWERDLING

Since even you and I are made of dying stars, Jozi finds inspiration in those who understand timelessness and travel in alternate dimensions.

CONTRIBUTORS: T Cleo Austin / Eleanor Bennett / Suhaly Bautista / R. Eustice Curring / Atiba T. Edwards / Allison Maritza Lasky / Michael Laukeninks / Jennifer Autumn McBride / Erick Michael / Sophia Nahli / Ariel Polonsky / Mariama Rafetna / Erin Rompin / Cliff Roth / Yukiko Staddon / Lisa Wang / Stephanie Winbush / Jozi Zwerdling www.fokus.org/insight Questions, comments and submission inquiries can be sent to insightsubmit@gmail.com INSIGHT magazine is published by FOKUS, Inc. All rights reserved on entire contents. Reproduction in whole or in part without written permission is prohibited. Opinions expressed in articles are those of the author and do not necessarily reflect those of FOKUS, Inc. or INSIGHT.

FOKUS uses the arts to help people understand their innate creativity and develop their own talents to maximize their potential. INSIGHT magazine provides insight into the artists who are shaping our culture today. This magazine is based on the concept that Humankind often looks to art to define civilizations and cultures.

LETTER FROM THE EDITOR Issue 30

There is a strange sense of permanence that fire creates. There are no reset buttons, no do-overs, no maybes or just kiddings. Fire is insatiable and once it is allowed to run free and have its way, things will never be what they once were. There is also a duality in the nature of its creation and destruction, darkness and light, and death and rebirth. The phoenix has a presence in many cultures and while the cultures are different the overall story and origin is the same. The firebird is a symbol of continuous rebirth and lineage as each phoenix prepares for its end and also rebirth. This notion is the theme of Issue 30. Some of the things that the Phoenix theme embodies are alterations, bonds, changes, destruction and emancipation. Fire has a bad reputation for the destruction it can cause to people, places and things. Yet out of a seemingly simple phenomena there is an undeniable beauty that rises out of the ashes created by fire. This is the phoenix - a beautiful bird that soars from the valley of the ashes of its predecessor. INSIGHT #30: The Phoenix. Enjoy.

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COVER ART Phoenix Clouds

MICHAEL LAUKENINKS

Phoenix Clouds was shot using infrared 950nm and is part of 16 different shots about this cloud phenomena. It was a wonderful moment but it lasted not long because this huge bird was blasted away by the north wind to the south. My inner main motive is to capture some little part of the huge and perfect "Mother Nature" which is so creative and inspiring. And if I come a little bit closer with my little camera equipment to the real impressions of what the world is offering than I am really happy. ~Excerpt from "Who is MichiLauke" http://r72.deviantart.com/journal/Who-Is-MichiLauke-218668703 Michael is from Hamburg, Germany and is the top admin of deviantArt's r72 Infrared Photography Club http://r72.deviantart.com. To see more of Michael's work, visit http://www.lauke.net and to see more from this series, visit http://michilauke.deviantart.com/art/Phoenix-Series-infrared-168233794 INSIGHT | 3

NEW VIEW

by Allison Maritza Lasky En route to Tampa on I-95, I used my rearview, freeze-framing the image of my late grandparents' salmon colored home; My sanctuary.

NEWVIEW, 2012. Digital photograph, 32 x 42 in.

Allison Maritza Lasky is passionate about marrying children's imagination with the aging population through art. INSIGHT | 5

HELLO BLU3BIRD by Mariama Rafetna every night she dies exhausted from lighting the entire world all alone still each morning she wakes just to do it all over again illuminating the sky with infinite potential painting a brand new picture everyday just for you.

Mariama Rafetna Primus is a writer, artist and web producer from Brooklyn, NY. Mariama presently runs her own media shop called 5ive30 Media, where she offers website production, copy writing and design services to local businesses and brands. See more of her work at http://helloblu3bird.tumblr.com. 6 | INSIGHT

THE OTHER ANIMALS AMONG US by Lisa Wang As the world evolves around us, we sometimes forget that we are also guests of this planet we call home. Over the centuries, we have advanced from our ancestors’ primitive stages of the physical hunt to a high-tech state of advanced animalism. Along the way, we have perfected ways of hunting and gathering with the invention of chemically engineered food; of mating through the use of advanced personality profiling; of building communication, transportation and defense through complex networks of design and planning. But do all our progressing advancements – whether they be social, industrial, technological, medical – make us a better species? Enabled by the ability to make conscious decisions and define logic, we believe we are a superior race and forget to consider the other inhabitants of our shared home. After all, we share the same rights and purposes as the rest of the animal kingdom: survival, protection and reproduction. And along the way, we all express remorse, love, empathy, affection and other emotions we mistakenly limit to humans only. At the end of the day, despite our individual philosophies and self-important purposes, we are each just another animal taking a breath for life. When asked what surprised him most about humanity, the Dalai Lama: “Man. Because he sacrifices his health in order to make money. Then he sacrifices money to recuperate his health. And then he is so anxious about the future that he does not enjoy the present; the result being that he does not live in the present or the future; he lives as if he is never going to die, and then dies having never really lived.”

Born in urban New York but living in Hong Kong, Lisa Wang finds nothing more refreshing than a clever mind, a witty conversation and an uninhibited laugh. (But a good meal is comparable.) INSIGHT | 7

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Calculated, 2011. Digital photograph (left)

Poised, 2011. Digital photograph (page 10)

Empathetic, 2011. Digital photograph (page 12)

Graceful, 2011. Digital photograph (page 14)

Mischievous, 2011. Digital photograph (page 16)

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ANNARTISTA EN COLOMBIA An interview by Allison Maritza Lasky Photos courtesy of Anna Barsan

Nestled between deep seas and gargantuan mountain ranges lives a country unlike any other in the world. With tourism at an all time high, Colombia's population has expanded its identity many times over, opened up to a variety of professions, blended cultural norms, personal interests and political/social shifts. One of the most talked about alterations to the country's steadfast Catholic identity has been the inclusion (or on-going exclusion) of same-sex marriages. With this conversation in the background, friend and fellow FOKUS member, Anna Barsan, took the opportunity to take her current life's work (art & advocacy) into the thick of Colombia's metamorphosis to seek further significance. AML: How does it feel to be in Colombia so far? AB: Al, itâ&#x20AC;&#x2122;s incredible! People, scenery, food, weatherâ&#x20AC;Ś I've been doing a ton of traveling and work so there hasn't been much time to sit and process it all! AML: The definition of home is certainly an interesting one, and I remember how it felt to touch the earth and sky when I was there. My re- and your new connection to this place fit perfectly with our theme for this issue of INSIGHT- The Phoenix/Rebirth. When you see these words [phoenix/rebirth], what does that ignite in you/make you ponder? AB: The notion of rebirth, to me, is a beautiful concept. It's spiritual, it's creative, it's artistic, it's rooted in the very deepest part of our selves and the cycles of our existence. It helps me to have patience in realizing the projects, personal growth and future goals in my life and helps to keep me grounded. AML: Do you feel these emotions are integrated into your experiences there? AB: Absolutely. New experiences, both those that are challenging and inspiring, contribute to our processes of rebirth and growth. AML: What are you doing in Colombia anyways?

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AB: After launching the documentary project, Signified (www.thisissigniďŹ ed.com), with my good friend Jessie Levandov, in 2011, we had a great first six months and were able to complete a successful Kickstarter campaign. With a portion of these funds we were able to begin envisioning making the series available in English and Spanish. The first step of this process was to shoot one season completely in Spanish. I had the amazing opportunity to begin this bilingual phase of Signified and to shoot interviews with incredible queer folks and discover the fabulous things happening in LGBTQ movements in Colombia and Argentina. It also just so happened to be an ideal time for me to explore some new places as I just completed my Masters Degree in Film Production and News Media from The New School this past December, and figured it was a good opportunity to give myself a break from the academic world and get out into the real one. AML: Bilingual work is so critical today; and an asset to the LGBTQ community as well, especially in a country that is still both anti and pro homosexuality. Do you feel your artistic and creative roots have deepened in your time there in any way? AB: Most definitelyâ&#x20AC;&#x201D;Not only to see the incredible work and movements that are taking place in other cities, countries, and cultures but also in communicating and working in another languageâ&#x20AC;&#x201D;it forces you to look at art and your own art in new ways. You must INSIGHT | 19

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conceive and imagine new possibilities in communicating your work to insure that it is relevant across language and culture. Also, being immersed in unfamiliarities, you come to appreciate in new ways the things that have shaped you and are thus familiar. And there is always the incredible awe you feel when beginning to grasp the amazing breadth and variety of people, experiences, lives, art and existence that are present in our world. AML: In addition to your project, do you also have an internal Phoenix-like mission while there? External? AB: My internal mission has been happening on many levels in the past few months. I think every stage of my life thus far, and I hope in the future, has and will be based in growth or rather, the pursuit of growth. Whether we're talking about on a personal level, with work and creativity, love and relationships, spirituality, or knowledge. Externally, or rather more formally, this trip has resulted in the shooting of all of the interviews for Season Three of Signified, teaching documentary workshops, as well as the creation and preproduction of multiple new projects that I'll be working on in the next year. AML: How do you feel your role in FOKUS and life will be affected by your time there? AB: I feel my artistic world opening up in ways that it was not before. This experience has reinforced the belief that it is imperative to bring a more international, multilingual, and multi-cultural perspective into my work. This perspective enriches not only the art, but the experience of the audience and the possibilities in opening up our inter-connectedness, on a global level, through our artwork. AML: Has there been any open space for lessons vis-Ă -vis art & tradition you've learned thus far? AB: Hospitality and social formalities are important, know your theorists, know who came before you, the ability to have an engaging conversation is a skill, generosity never goes out of style, food brings people together, share contacts, resources and everything else, opera is under appreciated, laughter is great way to communicate if you don't speak the same language, love is unexpected and unpredictable and always changing, read and read and read and don't stop reading. AML: So once youâ&#x20AC;&#x2122;re all finished back in the States, do you think youâ&#x20AC;&#x2122;ll return to Colombia? 22 | INSIGHT

AB: I will most definitely be returning. While it was a mix of work opportunities, great contacts and ideal life-timing, the experience of living here amongst great people are an eternal drive for me to come back again. AML: Anna, thank you so much for taking the time to bring me, and our readers, into your slice of Colombian life. I know our other friend and FOKUS member, Jamie Killen, is down there too, so maybe you can come together and create further. â&#x20AC;&#x2DC;Til then, buena suerte con todos! [good luck with everything!] From the longitude/latitude you're currently at, how would you finish the phrase 'art is...?' AB: Art is communication, our ability to find a common language.

Allison Maritza Lasky is passionate about marrying children's imagination with the aging population through art.

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FRACMENTANDO EMOCIONES by Erin Rompin Fracmentando emociones como gotas de lluvia cayendo desde el cielo y formando un charco de esperanza acompanhado con sonrizas manhaneras atraves de una nota musical convirtiendola en una obra magistral que me hace luchar contra viento que intenta alejarme de un mundo lleno de magnificencias y milagros. Un pensamiento sin temor de una vida consumida por la decadencia y mirando desde lo mas alto pude contemplar sus suenhos. Y con un hambre insatisfecho de un mundo que sigue brillando la noche se cristaliza en esperanzas por siempre y para siempre. Y sin saber donde, cuan lejos o serca estamos, los pensamientos nos asechan de una vida en llamas que de la noche a la manhana permanece fuera de mi, reconociendo en lo que estoy convirtiendome desde hace mucho tiempo, desde que he aprendido a vestir mi interior.

Nancy Eliana Romero Pineda conocida artísticamente como Erin Rompin nació en Asunción, Paraguay. Ella nunca imaginó que podría asistir a la universidad de arte, donde estudió diseño de arte visual durante tres años en el Instituto Superior de Artes (ISA). Erin recientemente dejó ISA, bajo el lema: "No se necesita un título para ser un artista" y está comenzando su carrera docente en lenguas extranjeras (Inglés) en el Centro Cultural Paraguayo Americano (CCPA).

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FRAGMENTED EMOTIONS Translated by Suhaly Bautista Fragmented emotions like raindrops falling from the sky forming a puddle of hope accompanied by morning smiles in the shape of a musical note converting them into a masterpiece that makes me fight against the wind which tries to keep me from a world full of greatness and miracles. A thought without fear of a life consumed by the decline and looking from the most high place, I could contemplate their dreams. And with an unsatisfied hunger for a world that continues to illuminate the night it crystallizes itself in hope forever and for always. And knowing neither where, nor how far or how close we are, thoughts lie in waiting of a life that from night 'til morning continues on outside of me, recognizing what I've been becoming since a long time ago, since I learned to dress my interior.

Nancy Eliana Romero Pineda, known artistically as Erin Rompin, was born in Asuncion, Paraguay. She never imagined she would attend art college, where she studied visual art design for three years in the Instituto Superior de Artes (ISA). Erin recently left ISA, under the slogan, "I don't need a degree to be an artist" and is starting her teaching career in foreign language (English) at the Paraguayan-American Cultural Center (CCPA).

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SIMON SAYS

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MYTHICAL PHOENIX by Cliff Roth (page 24-5) Mythical Phoenix, 2012. Digital illustration, 3687 x 2387 pixels.

Cliff Roth is a digital painter from New Jersey best known for hosting Speedpaint Hangouts on Google Plus. While his main focus has been caricature / portraiture, he is branching out into other forms of illustration. See more of his work at http://www.pluscliff.com/ 28 | INSIGHT

REBIRTH OF THE YOUNG BLACK NATION

by Sophia Nahli In the wake of Trayvon Martin's death, it has become obvious that violence against youth of color is far too prevalent in today's society. These young children will never have the opportunity to know what they can become and accomplish. They are judged by their appearance, discouraged by their environment and profiled by their skin tone. "Rebirth of The Young Black Nation" uses the iconic image of Trayvon's hoodie to embody the numerous young individuals who've lost their lives to violence. The lack of reflection symbolizes violence cutting each individual’s life too short before they even have the opportunity to know what they will become in life. The environment is desolate and abandoned. It is time for a “Rebirth” in the life of urban youth and youth of color. It is our duty to provide a safe environment, promote educational growth, and support them throughout their journey in life. Originally from Los Angeles, CA, Sophia is currently studying Photography and Women's Studies at Columbia College Chicago. She works as a teaching artist with Step Up Women's Network, a teaching assistant at Marwen, and a photographer for Sixty Inches From Center: The Chicago Arts Archive & Collective Project. http://www.sophianahli.com INSIGHT | 29

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CAN THE DRUMMER GET SOME? by Atiba T. Edwards I sat down with Mark Feldman, the founder of BANG! The Drum School, to talk about drumming and his start and rebirth as a full-time drummer. Located on one of the main streets that start the Williamsburg section of Brooklyn, you will find a non-descript door that houses BANG! The Drum School. If you listen closely, you can hear drumming seep through the cracks of the doorframe, like light fighting its way through cracks in darkness, pushing to illuminate the cacophony of Metropolitan Ave. "When I was a teenager I was really into music. I was listening to a lot of Rock music at the time and stumbled upon a lot of bands that had great drummers, in particular; Led Zeppelin. If you talk to Rock drummers they always talk about John Bonham and how he was the greatest and the godfather of rock drumming. He had a great groove, nasty fills, great technique, flash and everything that excites people about drumming. It naturally happened because of the music I was listening to and how it excited me and I followed it. I started exploring drumming. I bought some sticks and started fooling around. I experimented with other instruments before but none grabbed me - it is hard to imagine the recorder grabbing anyone. My parents were really encouraging and paid for me to take drum lessons. BANG! The Drum School started as an extension of what I was already doing. I had just left a corporate job and wanted to get back to drumming. I had been a professional drummer before that job and felt the need to get back to the level I was at while I was a professional and then go past that. I spent a few years just practicing because my new job was to get really good at drumming. I was in various studios and at one point I moved to the studio where we are sitting now. I was in here 35 to 40 hours a week practicing. Before BANG! started growing and I took over these rooms, there were more musicians around. One time, I came out for air during practice and a drummer asked "Is that you in there practicing?" From there a couple of people asked me to teach them lessons. That eventually led to BANG! The Drum School being started. I played professionally after college. I entered this drum solo contest in Modern Drum Magazine and was one of the winners and was recognized in the magazine, which was a huge thing for me. The judge of the contest was Neil Peart who is the drummer for Rush. Neil wrote me a letter and gave me one of his drum sets. That was instrumental to BANG! happening because I sold that drum set on eBAY for $25,000. 32 | INSIGHT

I have a section on the website called the $25,000 drum solo which is the drum solo I submitted to the Modern Drum Magazine contest. I was shocked to win but it did a lot of things for me. First, it made me realize you can do whatever you want if you work hard, are aggressive and look for opportunities to put yourself in. Also, the credential is great because I have an association with this great magazine and a legendary drummer. The money I got from selling that drum set helped me start this school. The school has grown from two seldom lesson takers to now with three teachers working with me who are all great drummers. It is a very pleasant experience to see someone start laughing because they are starting to play the drums. Art is joyous. To be able to help people experience that has deep meaning for me." Atiba T. Edwards is the co-founder and executive director of FOKUS, Inc. He enjoys curating creativity. To keep pace with him, visit http://www.fokus.org | www.visualstenographers.com | http://www.fresh-industries.com

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PIECES by Jennifer Autumn McBride Creating art has reawakened my spirit. Being diagnosed with Multiple Sclerosis at the prime of my life and the height of my former career forced me to reevaluate myself. The pieces I create bring much needed comfort, color and joy to my life. It is my desire to do the same for those that view my art. Injection Tree, 2012. C-Prints, 16 x 20 in. To create this piece I used syringes from my daily injection. The branches represent the new direction of my life, the trunk solidifies my body and the tree itself represents my growth as a person. (right)

Jennifer Autumn McBride was born and raised in Sullivan County, NY. She moved to Bayridge, Brooklyn 6 years ago and worked as a regulatory compliance officer in a manufacturing bakery until being diagnosed with MS. She has spent the last two years creating art in her basement. 34 | INSIGHT

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Brain Matter, 2012. C-Prints, 16 x 20 in. Life is a continuous ball of change. The brain is the foundation of our thoughts, adapting and guiding us through existence. (above) Bursts 2012. C-Prints, 16 x 20 in. I believe when we lose an ability that another is formed in its place. A burst of imagination has taken place inside me and the energy from the explosion has a found a home on my canvas. (page 35)

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Spring, 2012. C-Prints, 16 x 20 in. Something terrific happens in the spring. Those things that have been suppressed in the dark and cold of the winter miraculously come to life again in a fury of vibrant colors and wonder to the eye. (left) Earth From The Sun 2012. C-Prints, 16 x 20 in. The beautiful sun has been greeting our planet to a new dawn every day for billions of years. It has been a strength to us, assisting in the regeneration of life all over the planet. (page 38)

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Jonathan B. Tucker is a poet, educator, and coach of the DC Youth Slam Team. Two-time winner of the Community Oriented Underground Poet (COUP) Award from the National Underground Spokenword Poetry Awards, JBT is passionate about using poetry as a community organizing tool. His book, I Got the Matches, and other poems are available at http://www.jonathanbtucker.com. 40 | INSIGHT

TIRED OF BEING THE PERSON WHO I WAS YESTERDAY by Stephanie Winbush Tired of being the person who I was yesterday, Want to be at my full potential no matter what, Looked myself in the mirror and didn’t like what I saw, Your attitude can determine your whole mood, If you have an ugly attitude then you will feel ugly, If you have a good attitude then you will feel good, No more pleasing people because it doesn’t work, There is no satisfying you, I bend over backwards for you and you slap me in my face, You remind me of someone from my past who I used to live with, Want someone who I don’t have to change myself for or if I change it is for the better and not the worse, Don’t think you will change for me you are still the same person as you were a few months ago, Tired of writing the same book over and over again and getting the same result, No more this is where I draw the line, No more spending money, No more other things that are a distraction, I’m blocking all distractions.

Stephanie Winbush is from Havelock, North Carolina. She loves writing poetry and taking pictures.

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MA'AT

by T. Cleo. Austin MA'AT(goddess that governs 42 laws of truth,balance, order, law, morality & justice-kemetic legacy) soars into the heavens, piercing through multiple dimensions and awakens your self-realized phoenix principle through every being's heart. MA'AT, 2012. Acrylic on canvas, 34 x 37 in. (above) British born and of Barbadian parentage, T. Cleo Austin is fascinated with the juxtaposition of color, texture and shapes. She delves into fantasy, ethereal surrealism, and symbolism, daring to push beyond reality. To see more of her work visit http://www.tcleoaustin.com | email: Info@tcleoaustin.com 42 | INSIGHT

REVERSE ENGINEERING

by R. Eustice Curring There is a concept in technology where one comes to understand something by disassembling and analyzing its inner workings. This is called reverse engineering. Destruction is the spark of creation. Dismantle your loves. Put them together again. All images are Untitled, from the series Reverse Engineering, 2012. C-Prints, 16 x 20 in. R. Eustice Curring is an interdisciplinary artist currently working in Washington, DC. For more information, contact him at eustice.curring@gmail.com | http://www.recurringman.com INSIGHT | 43

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FOKUS by E the EmceE Failure Only Keeps Us Strugglin We flow through categories Like light through spaces Faces upon Faces Through shared hallways and tunnels In collective consciousness of funnels Steps of the giants guide our steps like lightning dashes in eyelash flashes that passes through cylindrical drums shiny, sphinx-like invisible drums silvery phoenix, icy-coated drums. Raw to roar like Ra on Nile's shore In it like David Ware's Glorified Calypso pouring from pores Our intellects connected by pre-patterns and pre-calculus calculations! And yet by idiosyncratic utterances, divine will if you will, momentary realities. Introspection and Investigations. 46 | INSIGHT

Imhotep eye to the sky, allnall by&by we are drums

This network nebula of night-day minds... .......................................drumsShine! drumS Shine Drumsshine!

Banging on grounds like bass drum bottoms Boomin' below subzero boundaries surrounding Brooklyn. Brooklyn Sunshine. On the Blue Train

Feelings Overt Kick U Signs Feelings Overt Kick U Signs Feelings Overt Kick U Signs Freedom Owns Knowledge Used Serenely AND

Coltrane Not Coltan.

Feelings Overt Kick U Signs

This telepathic network we inhabit

Feelings Overt Kick U Signs

bound in our moving geographies

Feelings Overt Kick U Signs

connected by a knowing love knowing

Forever Only Keep Us Souls.

we all struggle to shine and find each

Finally Our Kinetic Union Shines

other. Our souls like incense smoke emanating from drums.

For all those spirits that come through us, we seek to respect and report the nuances of the social surround. When you think of an eye observing that multivocal reality, think of an artist engaged with idiosyncrasy, that's E.

Art equals Angel as both or actually each equals 39 the secret. Drums.

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SPARKS

by Eleanor Leonne Bennett Rainbow, 2010. Digital photograph, 8 x 10 in. Eleanor Leonne Bennett is a 15 year old photographer and artist who has won contests with National Geographic,The Woodland Trust, The World Photography Organisation, Papworth Trust, Winston's Wish and Nature's Best Photography. 48 | INSIGHT

Firestart, 2011, Digital photograph, 8 x 10 in.

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Fire and Paper 517, 2011. Digital photograph, 8 x 10 in. (page 49) Fire is Greedy, 2011. Digital photograph, 8 x 10 in. (above)

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BURNING BRIGHT IN THE FOREST OF NIGHT by Yukiko Staddon page 52 Burning Bright In The Forest Of Night, 2012. Digital photograph.

Yukiko Staddon (aka Yuki Godzooky) is a Brooklyn based painter and designer. She works in oils, acrylics, watercolors, mixed and digital medias. She is a graduate from the University of Michigan School of Art & Design and she loves potatoes and science fiction. INSIGHT | 53

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BATTLEFIELD

by Ariel Polonsky Battle lines were drawn when two rival ant colonies fought to the death for territorial ownership. I often times forget how nature handles matters of life and death without fear. Battlefield, 2012. Digital photograph. Ariel Polonsky is a preschool teacher and former modern dancer, whose greatest aspiration is to create and maintain a life filled with daily discoveries, satisfying hard work, and strong relationships. 56 | INSIGHT

RIVERS by Jessica Valoris

Rivers, 2010. Acrylic on canvas, 18 x 24 in. Jessica Valoris is a visual and performing artist, poet, and youth organizer. With a passion for design, crafts, music, movement, and youth, Jessica strives to use art to heal and inspire love. See more of her work at http://www.jvaloris.com INSIGHT | 57

STAR ALARM

by Jamie Killen The phoenix represents many different things, but as of late for me, it has been taking the form of the closest star to the planet earth, The sun, each and every morning. To me the phoenix is the sunrise. It’s that point in which the first light of the day enters through your window. First, you feel its warmth on your skin. It wraps you in its warmth. You know that it’s close. You can see it, even with your eyes closed. It’s peaceful. It’s comforting. But eventually it wakes you, oh so gently at first, like how my mom used to wake me for school in the morning when I was a kid in a gentle tone of voice a little louder than a whisper: “Jamie, it’s time to get up. It’s time to rise and shine.”

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And then you give your body two stretches, arms and legs out, a yawn or two. You’re still in bed, laid out, but now you’re awake. And immediately you become aware of the challenges and pressures of the day, the grind, your daily to-do’s, the daily struggle; be it in your job, your relationships, your art, your inner self, your own happiness, your desires to make something of your life, your dreams that seem so close, yet so far away. The weight of infinite possibility (or your sheets) can paralyze giants. You really don’t want to get up because you don’t want to take on those challenges, you’re not ready, or maybe you are, but you don’t know it. Maybe you’re nervous, maybe you’re scared, maybe you don’t want to fail, or maybe you’re just lazy or simply want to sleep in. For me, this is the decisive moment. The moment in which you choose to either continue sleeping or rise, like the phoenix, to take on those challenges; to be with the day, leave the ashes to lie, and work towards carving your dreams out of reality, to endeavor towards a life based on what you want it to be, fueled by your passions, your ideas, your art, and your own happiness and fulfillment. It may be early, but this day is yours. How are you going to rise?

Jamie Killen is currently running around Colombia with a backpack and camera trying to get close to the meaning of foreign words, taking photos, drinking lots of coffee, and refusing to stop until he finds the Holy Grail of Empanadas. The journey has only just begun. See more of his work at http://www.flickr.com/photos/jamiekillen/

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INTERVIEW WITH THE HOLLOWAY YOUTH PROJECT by Jozi Zwerdling Photos by Robert Person Born out of the ashes of City at Peace DC's [CAP] folding, The Holloway Youth Project [HYP] was created to keep the love of performing arts accessible and relevant for teenagers in the metro-DC area. Both CAP and HYP are rare in their use of the performing arts as a means to promote cross-cultural understanding, teach conflict resolution and prevent violence amidst a diverse teenage population. As of April 2012, HYP participants have created and performed two original theater pieces for the DC area in response to requests from the Atlas Performing Arts Center and Choose Respect Montgomery. “We are currently in the process of putting together a piece responding to the issues surrounding Trayvon Martin's murder,” says Sandi Holloway, founder of HYP and former artistic director of CAP. Playwright Alma Davenport, photographer Robert Person, and HYP participants (ages 16-21) Nechelle Dean, RonMatthew Bonhom, Will Pearson, LaQuesha Barnes, and Brandon Douglas joined Sandi and I to discuss the death of CAP and the Phoenix-like birth of HYP. JZ: What was it like fighting for CAP to stay alive and hoping to come out victorious? Were you able to conceive of CAP actually closing? RB: I never thought CAP would close. I was going to go off to college and I was going to be able to come back as an alumnus and help the younger kids coming into CAP for the first time. ND: I was going to stop being so closed off and be open with my story this year. SH: I didn’t think CAP would ever close. It was my intention to pass this on to alumni who had come out of CAP- and become the choreographer and consultant, knowing [CAP] would be in good hands and go on well into the future. Who better to see this into the future, add on to this program and make it the bomb than the people coming out of this organization?

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Those last 18 months fighting for CAP were very, very difficult. I felt like I was fighting a group of people [the board] who I shouldn’t have to fight in order to make them realize how important it was to do absolutely everything to keep CAP going. I was looking forward to [structuring] CAP in a new way, to being even more relevant. So when it did close it was devastating because I was looking in a new direction and then everything got cut off. On one hand it felt like we shouldn’t have had to fight as hard to keep our organization alive. It was so relevant, and made such an impact on the world through the actions of our youth. On the other hand, funders shifted their focus to projects for people who needed a place to stay and food to eat. I almost had to ask myself, ‘How dare I compare the two?’ But the work we do sheds light on why people don’t have a place to stay and food to eat in the first place. LB: The whole mission and purpose of CAP is ‘If everybody got this, we going to do this.’ So, I was hopeful and positive. I believed we'd make it to the end of the year, but I also knew it was a possibility we would close. I was 100% committed to CAP. It was my life. When it died—to put energy into something to get it back— it was really scary and hard. JZ: How did it feel when you knew CAP had to close and you had to say goodbye to that era? What was the grieving process like for you? What did you think you would miss the most? RB: CAP was near to my heart. I was proud to say ‘I did this.’ I could take all of the information I learned into the future. If I had kids, I could send them to CAP because I wanted them to know these systems; how to work within them, get around them, and last in a society where the institutions are not really on their side. What I’ll miss the most is having the space to sit down and talk. I can’t go to college and expect to shove people in to a room and talk about racism in the same way- it wouldn't be as personal, emotional, safe or invested as CAP was.

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SH: As Artistic Director / facilitator for these youths, I felt like I'd let them down like others in their lives had done. If I had fought or worked harder; did the job of managing director and artistic director, if I had done all of those jobs, we wouldn’t be where we were. However, the way the alumni jumped in here and took care of the staff -that was like, ‘Wow.’ That last time I was reading Oh the Places You’ll Go, which I read every year to the cast, I was like, ‘Maybe they should be reading this to me.’ My grieving process was terrible. I felt like every cell in my body was changing. I was going to miss the work. Period. Working with these youths, just hearing their ideas, having that kind of fun with each other and talking about serious things.

JZ: What was the transition period like? What did you want to let decompose? What did you want to bring forward? SH: While I had to shed a lifetime of what I thought about this institution, it was also an 62 | INSIGHT

opportunity for me to move forward, realizing my 17 year's worth of sacrifices as an artist could live again. I learned that the work and the art didn’t have to occur at the expense of each other- I was buoyant! I wanted to make sure whatever I created had a strong foundation so that this wouldn’t happen again. I knew for sure that as an arts organization, we could not keep making promises to youths and then breaking them. BD: Focusing on youth development was the root of CAP and is the core of HYP, giving youth space to create and make something original. LQ: I want to bring the [CAP] process of creating a new space and team-building because with that come meaningful relationships. I want it to be art-focused and youth-led. People coming in there and telling us how to act or dance won't work. I want there to be a complete collaboration. JZ: What was involved in the birth of HYP? BD: I think HYP served as a refugee camp. Our homeland [CAP] was destroyed. We still needed a place to go while we were in the middle of the artistic/growth process; creating pieces based on our life stories. CAP was closed, but we still wanted to carry on [the work]; we just had to find a different vehicle for it. AD: Sandi has a great respect for the arts. As an amazing artist, choreographer, and talented director, she got a great wealth of knowledge and experience doing CAP. Though her approach and intentions are different now, Sandi has been prepared for what HYP is for over eight years. SH: I’ve had such a great education from CAP. The idea of using the performing arts as a tool to affect some kind of change was dominant in its mission. The fact that I can now talk to white people about racism in a way that doesn’t make them run away is proof of the seed CAP planted for HYP to be able grow and do more. HYP was a culmination of all the things I’ve been thinking about and knew were possible since 2001. I'd dreamt about being able to use art as a more serious tool – to really capture people, grab them and make them do something. HYP's success got its momentum after CAP closed and the phone kept ringing. People were saying “Can you participate in this thing?” The amount of youths, alumni and volunteers who responded and said, “Yup let’s go,” was gas in the tank. Everyone was pulling for this to work and really feeding it and making it fantastic.

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JZ: How has it felt to be involved in HYP’s process and performances? RB: I’m getting to hang out with CAP alumni I never got to hear from, so it’s great to see how they view the world. AD: I’m super excited and energized about it. As a director, Sandi demands excellence and brings forth excellence. HYP raises a lot of questions and that’s the best way to learn because it makes you think. We have the answers but it takes the right kind of teacher to make you ask those questions. SH: It’s in progress, it’s being born. I’m really enjoying the recent performances because we treat them way more professionally than we used to. I was a little nervous about taking the ownership away from our youths (they used to write their own scenes). Now I'm finding that it takes the pressure off having to do it alone. So far we are recording their stories in their words, then having a professional playwright craft the story. In this new incarnation, the professional playwright will teach our youths how to write plays. We’re going to touch on every aspect of the process; improvisation, writing and working with the playwright. This way, I get to spend that much more time training them as artists - and having conversations around what that process is. I’m having a ball!

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WP: It’s been fantastic. I never thought of myself as an actor but it was fun being part of the cast of the play that HYP put on. Sandi pushed me to become something I didn’t even know I could be. JZ: What is going on right now to help HYP grow? Any hopes/visions for its future? Who do you hope will be involved? AD: I hope that we get former cast members of CAP to join -those youths in the neighborhood who might have been unable to join previously because they were a little too old; anyone who’s interested in social justice and the arts and those who want to engage in such conversations will hopefully all be involved. I hope the Atlas or a similar organization could be involved. I see HYP doing a lot in the future. Every time we do a show, people start paying attention. Then they want to be associated with us, and that’s one way of growing. RP: I’m new to HYP and CAP. I’m not one of the cast members, so I’ve been able to sit and watch [HYP] work while I photograph. It’s very interesting and inspiring to see how Sandi and the group as a whole all help each other deal with and raise awareness about the issues that are important to the group. I was really impressed that nobody sits around they worked and produced something great. SH: Rob has helped contribute to the brand that is HYP by creating our first postcard. A lot of firsts going on! The artists and the participants are key. They have stamped this as an organization that they want to participate in. The fact that they chose HYP to invest in is a huge step for them and us. Other artists who want to be involved in HYP are helping it grow. Atlas, for example, could possibly be the house for us and I think they want to be. They find value in the work, and our presence, and feel like we align with their mission and vision. RB: My hope for the future is that people take the time and money to invest in something as crucial as HYP is. A lot of people inside and beyond DC need a space to talk about these things that are so taboo. HYP can start here, but as people get older who were a part of HYP take what they know, they can go elsewhere to start HYP. Instead of sitting back, silent and waiting for something to happen, alums can find a new community with our values to pay HYP forward.

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ND: I see a butterfly analogy. CAP was the cocoon; HYP needs to be the butterfly. It needs to be bigger than what CAP was. I want it to spread throughout the nation. BD: I feel the same way as I did in CAP; whoever comes, I’m willing to work and build with them as long as they won’t hold up the process. I always feel like everyone has something to bring to the table. LB: The people I want to be involved in HYP are those who have respect for and value the arts, and have passion for these programs. Our supporters should be a mixture of people who knew CAP and supported it as well as people who know us as HYP - they would know what we’ve been through and how important working towards a solid future together is. SH: I hope HYP remains diverse - meaning people from multiple cities, varying schools, religions, ethnicities, sexual orientations, etc., because it’s going to take all of us. Everyone should have the opportunity to go through this experience of art meets work meets communication. My hope is that HYP becomes an organization that is valued by the metropolitan community. That it makes hearing from youths as important as hearing from politicians and lobbyists and activists. Lastly, I wish for HYP to be seen as a relevant artistic vehicle that seriously trains youths for careers in the arts.

SH: I hope HYP remains diverse - meaning people from multiple cities, varying schools, religions, ethnicities, sexual orientations, etc., because it’s going to take all of us. Everyone should have the opportunity to go through this experience of art meets work meets communication. My hope is that HYP becomes an organization that is valued by the metropolitan community. That it makes hearing from youths as important as hearing from politicians and lobbyists and activists. Lastly, I wish for HYP to be seen as a relevant artistic vehicle that seriously trains youths for careers in the arts.

Jozi Zwerdling lives in the DC metropolitan area, where she works in various capacities as a social activist, artist enabler, community builder, and story teller both independently and for the organizations Teaching For Change and City at Peace DC. You can see more of her writing on her blog http://talebearer88.tumblr.com

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REMEMBER, WE'RE BORN AGAIN EACH MORNING by Suhaly Bautista el bosque creció, 2012. Digital photograph. (right) navegó día y noche, 2012. Digital photograph. (page 68) las paredes se transformaron en el mundo a su alrededor, 2012. Digital photograph. (page 70) ahora que comiencen los festejos!, 2012. Digital photograph. (page 72) navegó de regreso casi más de un año, 2012. Digital photograph. (page 74) New Yorker by birth & Dominican by bloodline, the Earth Warrior studied sustainable & international development at NYU and serves as Project Coordinator for the Culture of Creativity. See more of her work at http://www.theearthwarrior.com 68 | INSIGHT

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Thank you to all of the contributing artists in this issue: T Cleo Austin / Eleanor Bennett / Suhaly Bautista / R. Eustice Curring / Atiba T. Edwards / Allison Maritza Lasky / Michael Laukeninks / Jennifer Autumn McBride / Erick Michael / Sophia Nahli / Ariel Polonsky / Mariama Rafetna / Erin Rompin / Cliff Roth / Yukiko Staddon / Lisa Wang / Stephanie Winbush / Jozi Zwerdling Issue 30's theme was the Phoenix, which typically symbolizes rising from the ashes, or a rebirth after a fire. As you have seen from the pages of this issue, the Phoenix lives in many instances in our lives. Next issue's theme: Monsters and Fairies Submissions will be due by July 15, 2012.

www.fokus.org/insight Questions and comments can be directed to contact@fokus.org Submission inquiries can be sent to insightsubmit@gmail.com INSIGHT magazine is published by FOKUS Inc. All rights reserved on entire contents. Reproduction in whole or in part without written permission is prohibited. Opinions expressed in articles are those of the author and do not necessarily reflect those of FOKUS, Inc. or INSIGHT.