The Spook Who Sat by the Door (1973) by Ivan Dixon

African-American Representation in Feature Films Series

Thursday, October 20
7:00 PM
Nonstop Institute
305 N. Walnut St., Yellow Springs
donation

From a 1966 novel by Sam Greenlee, the director Ivan Dixon sold The Spook Who Sat by the Door as a Blaxploitation shoot-em-up, masking the theme of urban-based warfare for African American liberation in urban communities. Upon release it provoked violent reaction in some parts of white America, and the FBI pressured the distributor to destroy all copies. The film was a bootleg classic in the African American community for years, but didn’t officially exist until it was digitally restored from the original camera negative, hidden in a Hollywood vault, in 2004.

About The African-American Representation in Feature Films series and workshop screenings on Thursdays at Nonstop October-November, 2011: Starting in mid-October and continuing every Thursday through November 3, Bob Devine will introduce screenings of a series of important and sometimes difficult-to-access narrative films dealing with African-American representation by African-American directors and by Hollywood (1964-1989). Future screenings include works by Haile Gerima, Charles Burnett, and Spike Lee. People are encouraged to attend these screenings/workshop discussions as a series, or to attend the individual screenings of specific films. To register for the workshop call 937-232-9906, or come to Nonstop the night of the film.

About the instructor: Bob Devine was one of the founding members of Antioch College’s critical Communications program, has been teaching courses in media and social change, film and communications theory for 40 years, and has been actively involved in the fields of community media, public access and participatory democratic media outside the academy. In 2005 Bob served as Interim Executive Director of Manhattan Neighborhood Network, and in 2008 he served an extended term as an Executive Consultant for O‘lelo Community Media in Honolulu, these organizations being the two largest community media centers in the country. At Antioch, Bob served as President of the College from 1996-2001, while continuing to teach in the field of communication and community media; most recently Bob taught courses and independent studies for Nonstop. Bob is the 1994 recipient of the Alliance for Community Media’s George Stoney Award, recognizing his national contributions to the field of community media, and the 2002 recipient of the Antioch College Alumni Association’s J.D. Dawson Award recognizing his contributions to the College. Bob is also the director of several dozen documentaries.

For further information contact: Bob Devine, 767-232-9906

Nonstop Presents Local Stories

By Lauren Heaton, Yellow Springs News – go to their website

Everybody has a story, whose content is subject to interpretation by its teller. In the case of Nonstop Liberal Arts Institute’s newest project, the storytellers are four area artists who have created three installations for “Local Stories — An Oral Histories Project.” The stories they tell are of the residents who live here and form the essence of the local landscape. An opening reception for the artists and their work will take place at Nonstop on Saturday, Sept. 25, at 7 p.m.

In a multimedia installation, Nonstop photographer Dennie Eagleson tells the story of Milly Bell Wallace, who lived a self-sufficient life on a farm in Medway for the better half of a century. Columbus area painter Ryan Agnew interprets the identity of the village of Yellow Springs through a series of watercolors based on walks he took through the town this summer. Local residents Jonny No and John Hempfling initiated an interactive work that encourages people to dialogue about making space for local youth and the relationship between local youth and the police.

The Local Stories project reflects an era in which the availability of personalized digital tools allows people to tell their own stories. According to Chris Hill, a Nonstop faculty member and curator of the Local Stories project, the idea coincides with a national celebration of the stories of average people. One popular example is the national StoryCorps project, which since 2003 has collected local oral histories from citizens around the country for the Library of Congress archives. Another example is the National Public Radio program “This American Life,” Ira Glass’ in-depth weekly broadcast about the “true stories of everyday people.”

“In the culture at large, because the possibility of recording is available through cell phones and simple editing tools like iMovie and Quicktime, more and more people are investigating using media” to tell their own stories, Hill said. But the availability of the tools also begs the question of which is the best way to engage an audience in telling a particular story?, she said.

Eagleson’s piece, entitled “Threshing Day, Medway, Ohio, 1934,” came about through a connection with Nonstop and Antioch College board member Don Wallace, who is Milly’s son and who lives on his family’s historic farm. Eagleson became interested in Wallace’s life as a Depression-era female farmer who canned up to 1,800 jars in a given year and provided a model of the subsistence living Eagleson currently strives toward. After Wallace left the farm in 1986, she donated four generations worth of letters, photos, music and other forms of correspondence that documented the life of an Ohio farm family to the Wright State University archives.

In her installation, Eagleson documents the family’s life through archival material as well as interviews with family members, photographs and sound recordings of the farm. The result is a portrait of a woman that stretches Eagleson as an artist using new media to communicate a story, she said.

The collection of watercolors entitled “Wildflower Honey” by Columbus-based painter Ryan Agnew also tells a local story, but in a more abstract way. Agnew spent many days this summer walking through the downtown, the cemetery, the Glen, Antioch College campus, sometimes talking to people he met, intending to absorb the essence of Yellow Springs and its life cycles. During his visits he painted the natural world around him, including birdhouses of the Glen, gravestones in summer light, and the bees in a beehive, all of which, he said, communicated the uniqueness of a village that is a source of inspiration, healing and wholeness.

The third installation is an interactive work in progress entitled “Public Prohibited/Minor Infractions: The Control and Criminalization of Youth Culture in Yellow Springs, Ohio.” The work is a partial documentary about youth perspectives on their loss of public space and their relationship with the local and area bodies of law enforcement. The work is also meant to be an invitation to dialogue within the art space at Nonstop and online about the danger of accepting a historic pattern of disenfranchising certain groups of people, No said. The issues speak to artists No and Hempfling, both former Nonstop students and founding members of the Yellow Springs Community Youth Council, created to address the lack of opportunity for civic engagement among youth.

“The project is an attempt to make sure that as a community we’re being self reflective and paying attention to the way we treat one another, especially those who have historically been marginalized,” No said.

Local Stories, funded in part by the Yellow Springs Community Foundation, is an artist in residency project and a continuation of last winter’s artist in residency at Nonstop, Hill said. The artists were chosen by jury, and the intent was to get a diverse spectrum of approaches and to engage artists from both within and outside of Yellow Springs.

“In some ways the work has to speak for itself, but different ways of approaching the work draws different kinds of insights out of it,” Hill said.

After Saturday’s opening, the Nonstop gallery will host open hours on Saturdays 1–4 p.m. through October. Visitors may also check the Nonstop Web site for additional open hours or make an appointment to view the art by calling Nonstop at 319-1075.

Casting Notice_Oedipus Rex at Antioch College_The Faux Real Theatre Company

Also see workshop series and production

For Immediate Release

7/30/10

Antioch College presents a Faux-Real Theatre / Nonstop Institute Collaboration

CASTING NOTICE: THE FAUX-REAL THEATRE COMPANY, A NEW YORK BASED ENSEMBLE, IS SEEKING 6 MALE ACTORS FOR THEIR UPCOMING PRODUCTION OF OEDIPUS REX AT ANTIOCH COLLEGE
Rehearsals begin August 13th and the show runs from August 20th – August 22nd at the Antioch Amphitheater. If you are interested in being in the show please emai: fauxrealtheatre@aol.com or call 917-687-4998 as soon as possible.

The Faux-Real Theatre Company, a New York based ensemble is seeking six actors for their August, Yellow Springs production of Sophocles’ OEDIPUS REX (translation by Robert Fagles). Antioch College will be presenting the show which is a collaboration between the Faux-Real Theatre Company and the Nonstop Institute of Yellow Springs. The show will combine eight New York based actors from The Faux-Real Theatre Company with six local actors from Yellow Springs and the neighboring areas.
Rehearsals will be from Friday, August 13th – Thursday August 19th. Most of the rehearsals will be in the evening although there may be one or two daytime rehearsals. The performances will be on August 20th, 21st and 22nd, 6:00 PM at the Antioch College Amphitheater.

The Faux-Real Theatre Company is a not-for-profit ensemble that has been creating theatre in New York City and the neighboring areas since 1994. Shows created by Faux-Real have included William Shakespeare’s Haunted House (which ran seasonally in NYC for 10-years) FUNBOX (which ran throughout NYC for 2 years), The Tinderbox (which was performed in playgrounds throughout NYC over the course of two summers) and Htebcam (a backwards reincarnation of Macbeth). Faux-Real‘s style of performance is extremely physical and combines classic theatre techniques with elements of modern experimental theatre.

If you are interested in being in the show, please contact Mark Greenfield at fauxrealtheatre@aol.com or at 917.687.4998. We are interested in working with actors of all experience levels, so if you are excited by the prospect of trying something new, but don’t have a lot of experience, we are still interested in hearing from you. If possible, please email a photo of yourself along with either a resume or a short list of any theatrical experience you may have had. No payment or fees involved.

Nonstop Dialogues Seek the New

By Diane Chiddister, Yellow Springs News

Never ones to be constrained by conventional thinking, members of Nonstop Institute are taking an unusual approach to bringing interesting thinkers to Yellow Springs. In their series of talks this spring on higher education, Nonstop used high-tech but low-cost methods to create dialogue between members of the community and some of the most provocative thinkers in the nation.

This method differs in several ways from the more customary approach of a passive audience listening to a talking head. The Nonstop series, via Skype and iChat, electronically connected the experts, who were sitting in their homes and offices around the country, with the discussion participants in Yellow Springs. The guest speakers, who generally give about a 20-minute introduction before an hour-long interactive discussion with audience members, seemed eager to engage, according to Nonstop member Dan Reyes, an organizer of the event with Iveta Jusova.

“I sense that they’re excited about being taken off the beaten path” for the events, Reyes said in an interview last week.

Nonstop will this month bring via teleconference its most well known guest yet, the political philosopher and activist Michael Hardt of Duke University. Hardt is the author, with Antonio Negri, of a trilogy of influential works on the political and cultural landscape, Empire, The Multitude and The Commonwealth.

The event takes place at 7 p.m. on Thursday, June 17, at the Nonstop campus in Millworks, 305 North Walnut Street. It is free and open to the public.

Published in 2000, Empire was a publishing blockbuster that went through 10 printings, unusual even for a commercial book, but unheard-of for a 500-page academic tome published by the Harvard University Press.

“How often can it happen that a book is swept off the shelves until you can’t find a copy in New York for love nor money?…Empire is a sweeping history of humanist philsophy, Marxism and modernity that propels itself to a grand political conclusion: that we are a creative and enlightened species, and that our history is that of humanity’s progress towards the seizure of power from those who exploit it,” according to Ed Vulliamy of The Observer. Emily Eaken, reviewer of the New York Times, wrote that the book “is filling a void in the humanties.”

Hardt and Negri’s thesis is that the modern influences of technology, globalization and new models of production are breaking down barriers both within and between individuals, leading to new political and cultural opportunities. On a global level, they believe, formerly dominant nation-states are losing power and unorganized masses of people, which they call “the multitude,” are gaining it. Overall, they see the trend as empowering for individuals and for democracy.

“They see the old boundaries breaking down as both a time of crisis and a chance to rethink the culture,” Reyes said. “Hardt has food for thought for us, regarding how to move forward into a new realm of possibilities.”

Hardt’s analysis covers culture as a whole, and the upcoming dialogue will consequently cover broader territory than the previous discussions that focused on higher education, Reyes said. However, the Hardt event will, like the earlier events, encourage participants to re-consider the status quo and open up to new paradigms.

“When this works, it has a great impact,” said Nonstop member Brian Springer, regarding the Nonstop dialogues. “If it’s really good, it can change your intellectual spirit.”

While organizers were somewhat surprised that someone of Hardt’s stature agreed to take part in an event sponsored by a tiny group in a tiny town, they feel his acceptance has to do with his being intrigued by Nonstop. All of the participants, including Hardt, waived charging a fee to Nonstop after hearing about the group and its mission.

“We’re interesting to him because he’s interested in institutions that are in the process of becoming, that are thinking outside the old playbooks,” Springer said.

No one could accuse Nonstop of not thinking outside the playbook. Formerly called Nonstop Antioch, the group of about 20 working and board members are mainly former faculty of Antioch College. When Antioch University shut down the college in 2008, Nonstop members organized to offer classes without a campus, with the former faculty teaching in churches and homes, and reaching out into the community. They did so out of a desire to carry on the traditions and values of Antioch College, several said at the time.

Part of the Nonstop members’ decision to focus their spring dialogue series on higher education was their desire to understand the forces that led to the college closure, according to Springer, who believes that while the Antioch closing was an extreme and unusual manifestation of the threat to higher education, the same forces threaten many institutions today. Speakers in the series included Cary Nelson, an Antioch College alumnus and president of the American Association of University Professors, or AAUP, Ashley Dawson of the City University of New York, who spoke about her research into threats to academic freedom, and Sheila Slaughter of the University of Georgia, who discussed the effects of economic forces on higher education.

The series was “an attempt to understand how cultural forces created the conditions that led to such a catastrophe” as the Antioch College closing, Springer said.

While some of the original Nonstop members are now working at the revived Antioch College, the college’s new staff is small, and everyone could not be rehired — many of the former college faculty remain at Nonstop, Springer said. The effects of the decision to close the college are still reverberating, including that many of the former college faculty are about to lose their unemployment compensation, he said.

While Nonstop was originally funded by Antioch College alumni, it is now totally funded — its estimated 2010 budget is about $30,000 — by grants, gifts and supporting memberships, according to Springer, and its all-volunteer staff donates about $300,000 in donated labor yearly.

While Nonstop members are encouraged that the college alumni successfully reclaimed the college, they believe that they still fill a significant role in the community. Because they are mainly former longtime academics, they have a wealth of interests and expertise, and they want to continue making contributions to the Yellow Springs community.

“I see Nonstop as a complement to the revitalized college and to the humanities department at McGregor,” Springer said. Because the group is small, “it has more mobility to move and change” than do traditional institutions.

“We’ve become a flexible set of intellectual resources,” he said.

Nonstop members believe that the Yellow Springs community is an excellent place to apply those resources.

“This is an interested place. It’s vibrant and the people are curious,” Reyes said. “It’s not hard to have conversations here about topics that might be difficult somewhere else.”

Contact: dchiddister@ysnews.com

CALL FOR PROPOSALS – ORAL HISTORIES PROJECT

FOR IMMEDIATE RELEASE:

A CALL FOR PROPOSALS – LOCAL STORIES—AN ORAL HISTORIES PROJECT

Nonstop Institute of Yellow Springs announces its second Artists Residency program

Application deadline: June 8, 2010 – Apply Now

Nonstop Institute seeks proposals for its upcoming residency program Local Stories—An Oral Histories Project. The selected projects will incorporate an oral history (or histories) grounded in the lived experience of Yellow Springs and neighboring locales and can be expressed in a range of art disciplines and presentation formats. The proposals can be focused through subjects including but not limited to a person, a neighborhood, a period of history, or any of a community’s shared natural, cultural and civic resources. Application deadline is June 8, 2010.

The final installations can be 2-d or 3-d work, media-based, text-based, performative, interactive or combinations of these ways of engaging subject matter and audiences. The four selected residency artists (can also include documentarians, writers, cultural geographers, others involved with oral histories) will have access to workspace at Nonstop for 7 weeks starting June 14. Opportunities for dialogue among residency artists and producers is an important component of this on-site residency project. The final projects will be installed and exhibited in Nonstop’s spaces in early August, using either a section of Nonstop’s 2000 sq ft exhibition space or its virtual website space. Components of the projects can also occur as a performance or screening in Nonstop’s main space.

Local Stories—An Oral Histories Project invites applications by artists and documentarians working the southwestern Ohio region and will consider proposals by producers at any stage of their careers. Project jurying will be based on both the specific proposal for Local Stories—An Oral Histories Project and examples of past work. Four proposals will be selected, and at least two of the four will be current residents of Yellow Springs. Each artist selected will receive up to $150 for supplies. Further information and application forms will be available starting May 13 at this webpage.

This project is made possible in part by the generous support of the Yellow Springs Community Foundation.

For further information please contact Chris Hill at 937- 767-2327 or chris.hill@nonstopinstitute.org .

A threat to higher education

Working from our all-volunteer basis and maintaining a commitment to light ecological footprints, the Nonstop Institute presently stands midpoint in its Higher Education Dialogues series of live video-teleconferences with leading higher education scholars from across the nation. At the current time when so many colleges and universities find themselves facing political attacks on the very idea of public purpose, along with severe economic pressures from retreating fiscal resources, our inattention to the circumstances of post-secondary educational possibility is not an option.

From this past week our second guest in this series, Professor Sheila Slaughter (University of Georgia, co-author with Gary Rhoades of Academic Capitalism and the New Economy), engaged the Nonstop audience in a discussion concerning the manner in which the new economy mode of academic capitalist thinking has become enmeshed with many dimensions of higher educational practice. Executive leaders, administrators, boards of trustees, but also many faculty are involved in enacting the current ascendancy of what Slaughter calls the “academic capitalist knowledge regime” over the “public good knowledge regime.” Whereas the public good regime views education and knowledge as a legitimate and reasonable expectation for all and to the benefit of all, the academic capitalist regime views education as a private service, and it handles knowledge as a commodity to be packaged, patented, marketed and sold.

Slaughter elaborated on a significant theme in her book concerning the essentially false promises academic capitalism proponents frequently make about turning students into “empowered customers.” In actuality, the marketing-centered university, perpetually hungry for tuition revenues, attends little to a broad consideration of individual educational needs and more commonly circumscribes student choice to the economic advantage of the organization. Despite aggressive promotion of representations to the contrary, academic capitalism in practice is not a good option for students, nor is it a good option for faculty labor, which faces increasingly less stable conditions of employment. Academic capitalist commercialization agendas quite frequently fail to cover the expense of the substantial additional administrative apparatus demanded as the cost of doing business. Slaughter provides us a great deal of food for thought and an occasion for exploring alternative ideas in efforts to move ahead.

Coming up on April 29 at 7 p,m., Cary Nelson, president of the American Association of University Professors, or AAUP, joins Nonstop for the third teleconference installment in this series. Along with his long-standing work as a distinguished professor of modern poetry at the University of Illinois, Urbana-Champaign, Nelson is widely recognized as a committed advocate for socially-just institutional practice and higher education reform. His 25 books include the 2010 volume No University Is an Island: Saving Academic Freedom. Nelson has worked tirelessly to expand the traditional academic dialogues concerning intellectual freedom and shared governance to include meaningful consideration of graduate student employee efforts in union recognition, as well as calling attention to the systematically exploitative conditions increasingly common in many colleges and universities’ reliance upon part-time and short-term-contract faculty who are responsible for a great deal of many institution’s educational work but enjoying virtually no job security. As AAUP president, Nelson has aimed to better enable that association for taking on the significant challenges facing American higher education today.

Frequently situated as a voice of social conscience in national debate on higher education, Professor Nelson remains attuned to his educational roots in Yellow Springs. As an Antioch College alumnus he understands the importance of the educational traditions long situated in this community. He has in recent years generously shared his ongoing educational research with Nonstop, and we are pleased to welcome him back to discuss the current situation for progressive liberal education and possible paths ahead.

by Dan Reyes & Iveta Jusova

originally appearing in 4/22 YSN “Other voices”