~ Erica Goss ~
2016 Video Poetry Summer Camp for Teen Girls Wraps Up
On Sunday, July 31, seven teen filmmakers, all female, showed off their video poems in front of an appreciative audience. This year, our second running the Media Poetry Studio camp, students ranged in age from 12 to 16 years old. Each student gave a short introduction, talking about inspiration, writing poems, learning videography, filming, and editing.
Our students’ videos this year displayed a diverse range of themes. Almah Galan’s “What I See” focuses on social justice and includes an interview with her great-grandfather, while Caila Bigelman’s “A Game of Chess” features her own, fanciful drawings. Rachel Schultz’s impressionistic, untitled video deals with the passage of time, while Carol Liou’s video (also untitled) questions the value of sacrifice. Emilia Rossmann’s video is a touching reflection on the loss of loved ones, while Dasha Dedkovskaya’s depicts one person’s struggle with insomnia. Finally, Shachi Prasad takes a philosophical look at the price of being gifted.
David Perez explains ISO, shutter speed, and aperture.
Lessons began each morning in our outdoor classroom at San Jose’s History Park. Students spent the mornings writing, listening, reading and critiquing each other’s work. Our goal for the first day was for each student to write a haiku, which she turned into a short video that afternoon. MPS co-founder and former Santa Clara County Poet Laureate David Perez, along with special effects and videography teacher Jennifer Gigantino, introduced them to film techniques, and worked with the students throughout the two weeks. For the rest of the two weeks, we coached the students in writing and filming their videos.
Students use paper frames to define subjects.
For inspiration, I brought art and photography books for the students to browse. The books range from the classic, 1955 collection The Family of Man, edited by Edward Steichen, to pocket editions of Magritte and Chagall’s paintings. The students marked pages that stood out for them with Post-It notes. Going over the books after camp was over, I could see where many of their ideas began. For example, a drawing of a building reminded Caila of a chess piece; Almah was struck by Dorothea Lange’s famous “Migrant Mother.” Magritte’s eerie “The Musings of a Solitary Walker” inspired Dasha.
Students created a community of artists and writers on the first day. The supportive spirit continued throughout the camp. It was a pleasure to see how the girls jumped in to help each other, from acting in each other’s videos to holding the camera still in order to get an extreme close-up (of each other’s eyes – eyes were a theme this year!) to offering help with setting up scenes.
Videography teacher Jennifer Gigantino working on haiku videos with students.
Our curriculum this year included some wonderful teachers new to Media Poetry Studio: the fabulous Mighty Mike McGee, a well-know spoken-word poet who performs around the world, and the talented Freya Seeburger, a cellist who runs JAMS (Juxtapositions Avant Music Symphony). Mike gave a presentation on using spoken word techniques in voicing video poems, and Freya composed original music for each student’s poem. Freya also gave us a mini-concert, playing the music she created and offering commentary about her creative process. Much of that beautiful, haunting music is heard on the students’ videos.
Erica Goss setting up the camera for Almah Galan’s video.
We are also grateful for Elaine Levia, whose skills went far beyond her job description as “aide” – Elaine helped with writing, recording, filming and editing. Videography expert Jennifer Gigantino ushered the students into the mysteries of Adobe Premiere and After Effects. Students were particularly intrigued with masking, a technique that allows one layer of video to show through another. You can see how the students used masking in their videos.
Co-founder and poetry teacher Jennifer Swanton Brown gave us a wonderful ekphrastic lesson using art postcards; this lesson resulted in the seeds for quite a few of the students’ final poems. And last but certainly not least, I give huge thanks to my partner in this endeavor: David Perez, one of the hardest-working people I know, for his intelligence, creativity, energy, and artistic excellence.
Vocal recording.
One of the best things about Media Poetry Studio is its location: History Park in San Jose. We use the Edwin Markham House, an old-fashioned two-story house that Edwin Markham once lived in. We all agreed that the spirit of Markham, a well-known poet who died in 1940, gave the house a special quality.
We could not be more proud of our talented students. Once again, we are grateful for the support of the video poetry community and our funders, including major support from the City of San Jose’s Office of Cultural Affairs, Macy’s, and our fiscal sponsor, California Poets in the Schools. Thanks to Poetry Center San Jose for the use of Markham House. We could not have done this without you.
Group photo in front of Markham House.
Erica Goss on the place of poetry—and poetry videos—in the community
Erica Goss, founder of Media Poetry Studio, the first summer camp for videopoetry makers, is also Poet Laureate of Los Gatos, California, and recently, as the Vimeo description says, filmmaker Jake Cushnir “followed [her] around to see what a poet’s day is like.” The film includes several snippets of Goss’ own poetry, as well as her reflections on the place of poetry in the community and in public education. As Development Director for California Poets in the Schools (which isn’t mentioned in the film), she speaks with particular authority about how kids typically interact with poetry and with screens, and the best ways to overcome their resistance of poetry as it is more conventionally taught.
Speaking of which, I see that enrollments are open for this summer’s Media Poetry Studio. Visit their website for more information.
Erica Goss: Video Poetry Summer Camp for Teen Girls Wraps Up
Instructor Jen Gigantino demonstrating how to use special effects
Media Poetry Studio wrapped up its first summer camp on Saturday, August 1, with a screening of student films. Parents, friends and members of the arts community watched the eight short films our students created over the two weeks of camp. The students, who ranged in age from eleven to sixteen years old, were on hand to answer questions about their work.
In spite of the technological aspects of making videos (cameras, editing software, etc.), everything started with paper and pen. Each student received her own hard-bound journal, and spent much of each day writing. During the mornings of the first week, they worked with me on generative writing, and in the afternoons, they attended classes with MPS co-founder and Santa Clara County Poet Laureate David Perez, who introduced them to film techniques. The girls made their first video, using haiku they wrote on the first day of camp, by mid-week. After that, we focused on writing the poem each student would use for her final video.
The camp shifted in the second week to video instruction, and by the middle of the second week, we were in full film-crew mode. Students worked very hard to finish their films by Friday. Some finished early, while some students worked right up until the last minute of camp. The students who completed their films early assisted the students who still had work to do.
Camp curriculum included a number of guest speakers and instructors, who taught students topics that ranged from spoken word to 2D animation. Our highly talented and dedicated staff consisted of instructional aide Elaine Levia, poet Lucia Misch (spoken word), Jennifer Swanton Brown (MPS co-founder and poet-teacher), Jen Gigantino (video special effects) and the team of Annelyse Gelman and Auden Lincoln-Vogel (animation).
We held the camp at the Edwin Markham House in San Jose’s History Park. The house is the headquarters of Poetry Center San Jose, and its location in History Park gave our students a wide range of filming opportunities, from the house itself to the park grounds, which include more historic houses, a train, covered wagon, and gardens. The park is adjacent to the Japanese Friendship Garden, which we made use of for field trips.
Each video was decidedly individual, reflecting the personality and interests of the girl who made it. Our students expressed their feelings about the future, about struggles with control, the idea of home, having time to themselves, and the pressure they feel at school. Each video reflected the unique thoughts and vision of the maker. No two were alike.
David Perez, Jennifer Brown and I are very pleased with our first Media Poetry Studio camp. We’re already planning for next year! We will run another camp next year, and would like to add an advanced camp for this year’s students. We are grateful for the support of the video poetry community and our funders. We could not have done this without you.
Visit the MPS website’s About page for more photos. Three of the girls’ films are on the front page, and we reproduce them below as well.
Written, filmed and edited by Emilia Rossmann.
Written, animated and edited by Maggie Gray.
Written, filmed, animated and edited by Carol Liou.
Interview with Tom Konyves at Connotation Press
In her latest “Third Form” column at Connotation Press, Erica Goss interviews videopoetry pioneer Tom Konyves. Goss’s usual pattern of paraphrasing and quoting from a conversation conducted by telephone gave way here to a more standard question-and-answer format, and the interview delves into aspects of Konyves’ background which were new to me. Here’s how Goss herself summarized it:
In this interview, Tom discusses, among other things, making his first videopoem on ½” reel-to-reel videotape, the medium of video being “unrecognized” by Herman Berlandt, Director of the San Francisco Poetry Film Workshop, what text-image relationships have in common with male-female relationships, and falling in love with language as a child.
I particularly liked the story of how Konyves came to make his first videopoem. But I think the most quotable bit is from the end of the interview:
Text-image relationships are no different from male-female relationships. Sometimes they get along, sometimes they don’t. They get along when they are totally aware of the other’s “potential” as well as their own. For each has the potential to be effective in different ways. They don’t try to overpower the other or usurp each other’s roles in the structure of the work. A particular image provides the only possible context in which the words are intended to be experienced. When they “complete” each other, the work is “pure poetry”. And once you’ve realized that, you will always associate the images with the text of the work. They have become soulmates. How many “video poems” have this attribute? Watch one, then close your eyes and listen to the words. Can you picture the scene? Throughout?
Do go read the whole interview.
Jutta Pryor and Marie Craven featured at Connotation Press
Interviews with Australian poetry-film makers Jutta Pryor and Marie Craven are the focus of Erica Goss’ column “The Third Form” at Connotation Press this month. I’ve long been an admirer of both, so it was interesting to learn about their routes into online collaboration and filmmaking. “Poetry is an inspirational starting point that lends itself to creative interpretation and collaboration by bringing together writers, filmmakers, remixers, sound artists and actors to create poetry film,” says Pryor. And Craven notes that poetry film is “like collage, or quilting. You enjoy the surprise, and never know what you’ll find. I don’t plan things out too much, but let the process dictate the final product.” Go read.
News roundup: Text(e) Image Beat exhibition, “Send and Receive” videos, Facebook video embedding and more
The videopoetry exhibition Text(e) Image Beat, curated by Valerie LeBlanc and Daniel H. Dugas, is now showing at the Galerie Sans Nom in Moncton, New Brunswick, Canada. It runs through May 1.
With: Heid E. Erdrich + R. Vincent Moniz, Jr + Jonathan Thunder; Hannah Black; Matt Mullins; Martha Cooley; John D. Scott; Tom Konyves; Swoon (AKA Marc Neys) + Howie Good; Michel Félix Lemieux; Kevin Barrington + Bruce Ryder; Maryse Arseneault; Fernando Lazzari; Matthew Hayes + Sasha Patterson + Lee Rosevere.
[…]
The call for Text(e) / Image / Beat did not specify particular themes. Through the necessity of paring down the choices and assembling a flow of works that complemented and gave space to each other, we became aware of recurrent elements. In spite of the fact that the videos originate from many distinct locations, ideas of awaiting / finding miracles and mysteries of living, are frequent. Each work exhibits innovation and imagination, calling upon a wide range of skills to layer meaning. Slam poetry, rants, softly spoken words, hand written notes, and remixes are all used to articulate.
Click through to read the rest of the detailed and annotated curators’ commentary.
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I discovered this week that videos of presentations from the “Send and Receive – Poetry, Film and Technology in the 21st Century” conference at FACT in Liverpool have been posted to the web at artplayer.tv. The videos are embeddable, but with code that will probably not show up in feeds or email, so I will just link to the presentations here. Check out presentations by: Suzie Hanna; Zata Kitowski; Marco Bertamini; Deryn Rees-Jones; Jason Nelson; George Szirtes; Judith Palmer; and Roger McKinley (the host). They’re all worth your time, but I found Rees-Jones’ talk to be especially thought-provoking. (See also the earlier report at Moving Poems Magazine: “Conference on poetry, film and technology at FACT: three views.”)
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News emerged this week from Facebook’s annual developer conference, F8, that Facebook videos will soon be embeddable. Venturebeat reports.
A lot of poetry videos, especially of the more rough-and-ready sort (e.g. self-recorded recitations), are only uploaded to Facebook, so it will be helpful to have the freedom to share them on sites like this one. But Facebook launching a proper video hosting platform isn’t necessarily something I welcome, given the corporation’s poor track record with privacy and its ambition to swallow up the independent web, which Facebook succeeds in reproducing about as well as the Mall of America reproduces an agora.
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More details are emerging about Media Poetry Studio, the multimedia poetry summer camp for girls in Silicon Valley. The website now lists the time and location (July 20-31 at Edwin Markham House in San Jose’s History Park at Kelley Park, home of Poetry Center San Jose). And a March 27 article in the San Jose State University newspaper Spartan Daily interviews camp organizers Erica Goss and David Perez:
In terms of tuition, Goss said the program is “pretty reasonable,” costing $799 for two weeks.
The three poet laureates started planning the camp last spring.
“We had to secure funding, we had to write grants, we had to come up with curriculum—which we’re still working on—we had to find a place to do it and a fiscal sponsor since we’re not a nonprofit,” Goss said. “There’s lots of work and we’ll be doing it right up until the day it starts.”
Goss said they want to be able to give each student individualized attention so there is room for about 20 young women.
The Indiegogo campaign is now 62% funded, with $3,075 raised toward a $5,000 goal.
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And finally, speaking of Erica Goss, she has an essay in The Pedestal Magazine about her experience at the 7th ZEBRA Poetry Film Festival last October.
Poet-filmmaker Rachel Eliza Griffiths interviewed at Connotation Press
The March issue of Connotation Press is out today, and with it a new Third Form column by Erica Goss. This time, she interviews a poet and multimedia artist I’ve been especially curious about, having featured several of her films at Moving Poems: Rachel Eliza Griffiths. A couple of snippets:
“Students have a more visual life nowadays. In my creative writing classes, I often have students respond to photos on their iPhones. One day they might examine their own work, and on other days they respond in writing to the photos of other students. It’s very interesting to see what they come up with.” Students write self-portrait poems using, for example, five photos as a gallery. Rachel Eliza asks them, “How does shadow work in a poem? Is it similar to shadow in a photo?”
[…]
Rachel Eliza’s current project is P.O.P (Poets on Poetry), a project with 100 contemporary poets who read and comment on poetry, their own and others’. “I wanted videos that showed poets in a better light, quality-wise, than what you often see in archival videos on YouTube, for example. I’m happy that teachers use some of the videos as part of their lesson plans.” P.O.P includes poets such as Cornelius Eady, Tina Chang, Michael Dickman, Marilyn Nelson and Terrance Hayes.
The interview includes commentary on some embedded films. I was especially struck by Griffiths’ description of how she came to make Incident, her contribution to the #BlackPoetsSpeakOut movement. And I was excited to hear that she plans a triptych of new videos in support of her upcoming collection of poems. Check it out.
Erica Goss: Video Poetry Summer Camp for Girls & San Francisco Writers Conference
I hope to light some creative fires this summer at Media Poetry Studio, a camp for teenaged girls I’m running with David Perez, the Poet Laureate of Santa Clara County, and Jennifer Swanton Brown, the Poet Laureate of Cupertino. Here’s the video from our IndieGoGo campaign:
Getting girls to participate more fully in technology and expressive writing
The camp is the result of a brainstorm between David Perez and me. I ran a poetry-writing summer camp in 2013 in San Jose, and I wanted to do something like that again, but with video poetry. I was aware that Alastair Cook and Marc Neys had taught video poetry to children, with very successful results. Since I’ve taught mostly teens, I imagined a camp for students of that age group. David took it a step further: why not run a camp for teen girls? It would combine art, writing and technology, and serve an audience that might otherwise not have this kind of experience.
Studies show that girls generally outperform boys academically until middle school, when they fall behind. This is exactly the same time that boys leap ahead of girls, exploring, taking risks, and experimenting with technology. We wanted to do something about that, using video poetry as our medium. Video poetry, a blend of art, writing, and technology, will teach our students many new skills: filming, photography, editing, story-boarding, and how to envision their poem as visual art. They will also be able to share the films they make with their friends and family.
The three of us have worked extensively in teaching, writing and performance to students in middle and high schools. David is also a filmmaker and photographer, and has made his own video poems. (As the columnist for The Third Form, I’ve watched hundreds of video poems, and commented on many, but I’ll be teaching poetry.) Jennifer Gigantino will teach video editing, videography and special effects. Jennifer Swanton Brown, co-founder and Poet Laureate of Cupertino, has worked in the classroom teaching poetry to children since 2000 as part of California Poets in the Schools, a 50-year-old arts organization. We also have spoken-word poet Kim Johnson on board, a performer and youth poetry instructor.
We aim to get our students out shooting film and taking pictures on the first day. Our curriculum will be mostly hands-on, with demonstration and guidance from our staff. We’ll have the girls create video-haikus to start, and then longer works as they gain skill and confidence. They will be engaged in a course of study that will encourage them to participate more fully in technology and expressive writing.
When poets see video poems for the first time
Technology and expressive writing were evident on February 13, 2015, when I participated in a panel titled “Powering Up Your Poetry with Film” at the 2015 San Francisco Writers Conference. Among panel sessions with titles such as “The World of Romance Fiction” and “The Elements of Killer Thrillers,” a group of poets gave the outsider art of poetry film their full attention. I was one of three panelists. The other two, poets Joan Gelfand and Chris Cole, are well-known in the Bay Area arts scene, as is our moderator, Rebecca Foust.
Although we did not prepare as a group beforehand, Joan, Chris and I agreed to introduce our work with little explanation, letting the films speak for themselves. It’s fairly difficult to describe video poetry to someone who has never seen it before. It’s better to just show the film and answer questions later, allowing the first-time viewer his or her own discovery. And that’s how we ran the panel: a short intro, the films, and then an extended Q&A.
Chris Cole made several short films, which he calls “journal entries,” as complements to his novel, the speed at which I travel. He used still shots, his own and public domain images, combining them with narration to create highly watchable, well-edited visual collages:
http://youtu.be/hZR64UwX5WA
http://youtu.be/MhJZCPA-t_4
Joan Gelfand’s video was based on her poem, “The Ferlinghetti School of Poetics,” a poem from her 2014 book, The Long Blue Room. It is not ready for release yet, but Joan promised that it’s coming soon. A Hollywood filmmaker created the video for Joan, and it’s a compelling blend of images, both moving and still, and sound.
I showed the video poem “Arrhythmia,” which Swoon made using my poem, some film I shot of my son drawing, and Michael Dickes’ narration:
The audience for the panel leaned forward in their seats, clearly impressed and—as Rebecca, our moderator stated—“intruded upon.” In general, when poets see video poems for the first time, they are both amazed and empowered: amazed because they’ve never seen anything like a video poem before, and empowered because they immediately want to make their own (or have someone make one for them). That’s how I felt the first time I stumbled across Moving Poems a few years ago, and I recognized the combination of excitement and enthusiasm that sparks creativity.
Poetry filmmakers Sina Seiler and Eduardo Yagüe featured in The Third Form
This month in her Third Form column at Connotation Press, poetry-film critic Erica Goss profiles and interviews two filmmakers who should be familiar to regular readers of Moving Poems: German documentary filmmaker Sina Seiler and the Spanish freelance director and poet Eduardo Yagüe. I learned a lot about both directors. For example,
Sina served as an intern at the 2008 Zebra Poetry Film Festival, and was involved in the pre-screening process (no small feat, as Zebra receives close to one thousand submissions). She remembers how it felt to watch so many poetry films: “It was so great that something like this existed. I immediately had the idea to make my own poetry film.” “Elephant” is the result, based on a poem Sina wrote. She added, “I have been writing poems since I was young, but I didn’t publish them – they were just for me. Nothing commercial.”
And this about Yagüe:
Eduardo’s influences include the German choreographer Pina Bausch, the British performance group DV8 Physical Theatre, and the work of Samuel Beckett. Themes of emotional and sexual tension are evident in Eduardo’s work, which his many talented actor friends aptly express.
“I know a lot of actors,” he said. “I am lucky that they want to be in my films. I love actors and poetry, so that’s what I want to do: mix the things that I love. And most actors are comfortable with poetry. We study poetry; it helps us learn to speak properly. Much of the spoken part of theater is poetry: Shakespeare, for example.”
Do read the rest (and watch the films). What each filmmaker has to say about their process is especially interesting.
Erica Goss: Ten Favorite Video Poems Made by Women
Here are ten current favorite video poems, all made by women. One of the things I like about video poetry is its cultural and gender diversity. Many more than these exist, of course, and my list is much longer than only ten, but enjoy these from the US, Canada, Pakistan, Egypt and Taiwan:
goodbye (poem by Kate Greenstreet)
Kate Greenstreet, 2010
I Said Yes (poem by Luisa Igloria)
Nic S., 2014
http://vimeo.com/107386171
The Dice Player (poem by Mahmoud Darwish)
Nissmah Roshdy, 2013
kindness (poem by Jana Irmert)
Jana Irmert, 2012
Whore in the Eddy (poem by Heather Haley)
Heather Haley, 2012
Self Portrait as Beast (poem by Justine Post)
Cecelia Post, 2014
Danatum Passu (poem by Shahid Akhtar)
Shehrbano Saiyid, 2014
At Freeman’s Farm (poem by Marilyn McCabe)
Marilyn McCabe, 2013
In the Circus of You (poem by Nicelle Davis)
Cheryl Gross, 2014
They Are There But I Am Not (poem by Ye Mimi)
Ye Mimi, 2009
Erica Goss on ZEBRA 2014
Poet Erica Goss’s Third Form column in Connotation Press this month is devoted to her impressions of the 7th ZEBRA Poetry Film Festival, and includes a short interview with ZEBRA’s artistic director Thomas Zandegiacomo Del Bel as well as a list of “ten video poems from the festival that deserve attention.” The majority of these have yet to appear on Moving Poems, so do check it out.
“A real Arabic aesthetic”: Nissmah Roshdy on the making of “The Dice Player”
Egyptian animator and media designer Nissmah Roshdy talks about her film The Dice Player, an animation of a section of a Mahmoud Darwish poem of the same title. American poet Erica Goss, author of the Third Form column on video poetry at Connotation Press, interviewed Roshdy in a Berlin coffee shop the day after the ZEBRA Poetry Film Festival, where The Dice Player won top honors.
Our conversation continued for more than an hour after the interview, but 20 minutes is about the limit to what I can upload at my slow connection speed. (I apologize for the sound not being perfectly in sync; I’m still learning how to use new editing software.)
