I’m doing a podcast. About politics. Surprised, right? 😉
I’m doing a podcast. About politics. Surprised, right? 😉
As you might expect (or know already, if we’re FB or Twitter friends), I have a lot of feelings about Tuesday’s election and its subsequent results. And maybe, eventually, I’ll be able to organize them coherently and present them in essay form.
For now, I’m trying to focus on concrete actions I and you can take to prepare ourselves for a long few years. Much of this will require getting in direct touch with our representatives in congress. Per this piece, by a former congressional staffer, the best way to do that is via phone.
Well, guess what. We all carry our phones with us 24/7. So if we have their numbers in our phones, we are already better prepared to engage our reps across congress in conversations about the issues that matter.
I’m starting with my own senators (Chuck Schumer and Kristin Gillibrand, both D-NY) and my House Rep (a republican who I have to look up again – see how much time I’d have saved if I’d whacked him into my phone the first time I called his office?) and the leadership of the Congressional Progressive Caucus. If you finish with those and want to keep going, think about adding regional DNC information as well.
So ask yourself, are you more likely to call your rep if you can just say, “Okay Google, dial Charles Schumer” and get a direct line to his office? Or if you have to go online, look up the number, and call from there?
If the answer is #1, and you want to help effect positive change in America, then take five minutes and put these numbers and more into your phone. Right now. Seriously. Cut and paste is your friend.
And remember, you can look up your reps and senators (links below), but think about looking up other reps and senators, as well. All of congress works for you. Your tax dollars contribute to all their salaries. You have a right to call and demand representation from any and all of them to address your rights and concerns, and you should do so.
Edit: Things are getting fun! A friend of mine has issued a #PhoneYourRep challenge to the internet! Once you’ve added your rep’s number to your phone, head to Dave’s Facebook and leave screenshot evidence – if we can get over 100 people to do it, he’ll be on the hook for a $500 donation to the Sierra Club (and given the person who’s in charge of their transition team, they’re gonna need it)!
Getting better at representative government AND saving the planet? Take part in this challenge and you’re basically a superhero. 😀
So, it’s been a few days – lots going on, no time to talk, bit like the white rabbit – but I did just have this article published by SkirtCollective.com, and wanted to share.
Check it out and pass it on to anyone you know who might benefit from some more information on finding help with mental health care.
When I approached Eric, Sare Liz, RJ and Miranda about working on HOT MESS: speculative fiction about climate change, one thing we agreed on was that a portion of the proceeds from the book should benefit climate-change-related charities.
Miranda and I will be releasing HAIKU OF THE LIVING DEAD, a book of Zombie Haiku submitted from internet users around the world, on Friday, July 13th.
From Joyce McMillan’s blog:
“Creative Scotland have instead decided to withdraw their entire middle range of funding, known as flexible funding, which offered basic income security on a two or three year cycle to small- and medium- scale arts organisations with a strong creative record. The result is to throw some 49 Scottish arts organisations from a condition of modest security, into a condition of complete insecurity, in which they have to bargain from project to project for their continuing right to exist.”
It was when I read the names of some of the 49 companies now in jeopardy that I felt my mental jaw drop: Vanishing Point Theatre Company, Grid-Iron, and the CCA in Glasgow (their equivilent of New York City’s MoMA) were included on the list. For the record, Vanishing Point’s Lost Ones, which I reviewed seven years ago during the 2005 Edinburgh Fringe Festival, has stuck with me like few other productions over the years.
Why I’m Opening My Big Mouth
I lived in Edinburgh, Scotland, for four years, from 2003-2007. During that time, I attended Queen Margaret University College’s MFA program in Dramatic Writing; at the time, the theater department was run by Maggie Kinloch – who has since moved to RSAMD.
I dove headfirst into the arts scene. Edinburgh was where I started reviewing for The British Theatre Guide. It’s where my plays PLAYING IT COOL, STUCK UP A TREE, and MOUSEWINGS had their world premiers. I made numerous short films there, applied for and received funding for arts projects from my university, organized script development workshops and was an active member in the Traverse Theater’s Young Writer’s Group (I was lucky enough to have two plays workshopped as part of the program), plus traveled to INTERPLAY – EUROPE as one of their delegates. I’ve stayed in touch with many of you since leaving Edinburgh, and this this fall, my one-act play MILLENNIAL EX will be featured in a collection of short plays from around the world on the subject of marriage equality at a festival in Glasgow.
So I have something of an interest in what goes on within the Scottish theater scene, but rarely have the time to indulge that interest, and so was not aware of the current funding debate taking place until this morning. @MarkFisher was kind enough to point me towards information on the current debate, and that’s why I missed this morning’s sunshine and will now be spending the remainder of the afternoon inside as rain thunders down in Manhattan.
Theater Funding in Scotland vs. America – Where the Money Comes From
There are some things about arts funding in the UK, and in Scotland, which may be unfamiliar to some of my American readers. The main one, I think is:
In the UK, public funding bodies exist, geared toward distributing funding for (and thereby encouraging the development of) artistic forms of expression within a specific mission statement. They have the mission and responsibility to enrich citizens’ cultural lives and develop resources that showcase and develop both the country’s heritage and its future.
(My feeling is that in America, there is not a similar or analogous organization that answers to and is responsible for the funding of such a wide range of theaters and types of theatrical projects as is Creative Scotland. But that’s another discussion, and one I’m happy to have in the comments.)
These funding bodies and their missions, and the ways in which these obligations to fund are interpreted and fulfilled, are a point of contention between organization and practitioner. (Pardon the stealth edit as I try to make my point clearer.)
What the What?
Okay. Let’s say you have a theatre company in Scotland and want to apply for funding for this really fantastic idea you have. You go to Creative Scotland and fill out an application form. You pick the kind of funding that fits your project.
In the past, Creative Scotland had a category which funded on a project-only basis. Technically, these were grants that a theater company would receive, once per cycle (clarification stealth edit). They weren’t meant as funding that would keep the company running year round, but practically…
The Best-Laid Plans of Mice & Men…
…that doesn’t seem to be what happened. A number of companies, including, I would assume, those McMillan names in the above excerpt, have received grants from Creative Scotland to a degree where their project-to-project funding is sustaining their organization and where the loss of that funding puts those companies in jeopardy.
Meanwhile, it seems from the reading I’ve done this morning that Creative Scotland’s response is: we’re not defunding you, we’re just cancelling this form of funding. You shouldn’t have been depending on these funds in the first place.
Pardon the analogy, but to me that reads a bit like a drug dealer saying, “Well, it’s not withdrawal, because you weren’t supposed to get addicted to heroin in the first place.”
I’ll be interested to see how this situation develops.
For those who are interested, some additional reading