MUSICA PRACTICA / ELETTRONICA VIVA 2017 A series of discussions & concerts focusing on live electronic music performance practices

presentsSarah Davachi (b. 1987, Calgary, Canada) holds a bachelor's degree in philosophy from the University of Calgary, and a master's degree in electronic music and recording media from Mills College in Oakland, California. As a composer of electronic and electroacoustic music, Davachi's compositional projects are primarily concerned with disclosing the antiquated instruments and forgotten sonics of a bygone era in analog synthesis, with concurrent treatment of acoustic sources – particularly organ, piano, strings, and woodwinds – often involving de-familiarization through processing. Her work considers the experience of enveloped sonic dwelling, utilizing extended durations, psychoacoustic manipulations, and simple harmonic structures that emphasize variations in overtone complexity and natural phasing patterns.

Her work as a music researcher concerns aspects of experimentalism, organology and archival study, and phenomenology and perception, and has been published and presented within Canada, the United States, and the United Kingdom. Since 2007, Davachi has also had the unique opportunity to work for the National Music Centre (formerly Cantos Music Foundation) in Calgary as an interpreter, content developer, and archivist of their collection of acoustic and electronic keyboard instruments. Additionally, she has worked for the Western Front in Vancouver as an assistant in archival audio digitization, and has lectured at Simon Fraser University and Vancouver Film School. She has held artist residencies at The Banff Centre for the Arts (Banff, Canada), STEIM (Amsterdam, Netherlands), WORM (Rotterdam, Netherlands), EMS (Stockholm, Sweden), and OBORO (Montréal, Canada), and is the recipient of grants from the Canada Council for the Arts, the Alberta Foundation for the Arts, and SOCAN. Davachi currently resides between Vancouver, BC, Canada and Montréal, QC, Canada.

Turner Williams Jr. is a Philadelphia-based painter and musician from Birmingham, AL. Ramble Tamble, his recording project and occasional band distills classic rock mantras, field recording, and inverse crunch groove into a greasy miasma. His "live" teeth cut as the "japan banjoist" for NYC's Guardian Alien with Greg Fox (Liturgy/Zs/Ben Frost/Colin Stetson/etc) and Alex Drewchin (Eartheater), recording three records in as many years and jamming however many tours and gigs. Big influence. Hanging with Ladonna Smith and Davey Williams in Alabama too. Turner plays modal fantasias on an Ebay'd electric shahi baaja & fx. Likes: stinging tones, stuttering melodies, elastic rhythm, ecstatic harmonic pileups, sonic seasonings. He is a Libra and devotee of Baba O’Riley.

Admission is FREE

Ars Nova WorkshoppresentsBattle TranceTravis Laplante, tenor saxophoneMatthew Nelson, tenor saxophoneJeremy Viner, tenor saxophonePatrick Breiner, tenor saxophone

Ars Nova Workshop is pleased to present the expansive tenor saxophone quartet Battle Trance, celebrating the release of their second album, “Blade of Love.”

The follow-up to their acclaimed 2014 debut Palace of Wind, Battle Trance’s sophomore release Blade of Love comprises a single, densely textured composition by bandleader Travis Laplante that focuses on the physical and spiritual intersection of the saxophone and the human body. The saxophone is one of the few instruments that literally enters the body of the person playing it, and Blade of Love is a medium for this sacred meeting place, with each member of Battle Trance using the saxophone as a vessel for the human spirit. The album was recorded in a wooden room with soaring ceilings in the Vermont forest, after the group spent two years of rigorous rehearsals working to perfect the array of extended techniques, both virtuosic and primal, required to bring the challenging piece to life.

The Chicago Reader wrote that their music’s “absence of familiar structures and vocabulary forbids you from using mental shorthand to process this music—with its intricate textures and priestly patience, it invites you instead to awaken to full presence."

The four members of Battle Trance have performed with Tune-Yards, Little Women, Tim Berne, Gerald Cleaver, Michael Formanek, Trevor Dunn, Ingrid Laubrock, Steve Lehman, Weasel Walter, Mat Maneri, John Hollenbeck, Tyshawn Sorey, Peter Evans, and many others. The group formed in 2012 after Laplante awoke one morning with the crystal clear vision that he needed to start an ensemble with three specific individuals: Matthew Nelson, Jeremy Viner, and Patrick Breiner.  Laplante was actually unfamiliar with their work as musicians and had only a minimal relationship with them as individuals, but the ensemble formed that evening and has since evolved an adventurous, volatile and highly charged language of their own.

Links: Battle Trance "Blade of Love" | PressBattle Trance "Blade of Love" | Official Album Trailer

Admission is FREE

The Philadelphia Science Fiction SocietypresentsGeneral Meeting, March 3, 2017, Meeting at 8:00 pm, Speaker at 9 pm 

Speaker - Sarah PinskerSarah Pinsker is the author of the novelette "Our Lady of the Open Road," winner of the Nebula Award in 2016. Her novelette "In Joy, Knowing the Abyss Behind," was the Sturgeon Award winner in 2014 and a Nebula finalist for 2013. Her fiction has been published in magazines including Asimov's, Strange Horizons, Fantasy & Science Fiction, Lightspeed, Daily Science Fiction, Fireside, and Uncanny and in anthologies including Long Hidden, Fierce Family, Accessing the Future, and numerous year's bests. Her stories have been translated into Chinese, Spanish, French, Italian, among other languages. She is also a singer/songwriter with three albums on various independent labels (the third with her rock band, the Stalking Horses) and a fourth forthcoming. She lives in Baltimore, Maryland and can be found online at sarahpinsker.com and twitter.com/sarahpinsker. 

Admission is FREE Meeting at 8:00 pm, Speaker at 9 pm 

Theatre of the OppressedUNPACKING RACEA 4-Part Workshop Series 

Every Tuesday in March - March 7, 14, 21, and 28 • 6:30-9:00 PM 

Tuition $45-$125, sliding scale

Worktrade available upon request

Sign up via "tophilly@gmail.com"

On Tuesday nights this March we bring back our popular series on race and racism.  Over the course of four weeks we'll explore this topic through a variety of exercises, discussions, and techniques from the Theatre of the Oppressed, supplemented by things to read and do between sessions. Our aim is to unlearn the systemic racism we’ve been taught throughout our lives, to heal from racial privilege and oppression, and to offer starting points for structural and personal change in ourselves, our communities, and our world. 

The March 2017 Unpacking Race Series is open to anyone who can attend all four sessions. Tuition is sliding scale: $45-$125, payable at the first session. To sign up, email "tophilly@gmail.com" or leave a message at 267-282-1057. If you are interested in worktrade or childcare, contact us by February 22.

Women on BoardsHelping women to join boards. Join us for a formal presentation from an expert panel on how to join a board, what board membership entails, how to get involved and how you can make a difference. There will be organizations looking for board members and networking opportunities! Note all the refreshments provided will be vegan!

Admission is FREE

Andrew’s Video Vault at The Rotunda

FREE Screenings Continuous From 8 PMon the Second THURSDAY of Every Month!Since 2004, Andrew’s Video Vault is a free, once-a-month screening series at The Rotunda in West Philadelphia programed by film director and educator Andrew Repasky McElhinney.  Andrew’s Video Vault programs original, obscure, neglected, marginalized and commercial unavailable video media. It connects the West Philly neighborhood to the University of Pennsylvania community and fosters a multicultural examination of motion pictures in a relaxed, educational setting.

This program is made possible through the generous support of the Cinema Studies Program and The Rotunda at the University of Pennsylvania.

VIEWER DISCRETION IS ADVISED. 

MARCH 9 – FRITZ LANG’S INDIAN EPICThe Tiger of Eschnapur [Der Tiger von Eschnapur] (1959 / 101 minutes)The Indian Tomb [Das indische Grabmal] (1959 / 102 minutes)After years directing crime thrillers and film noir titles in America, the great Fritz Lang returned to his home country to direct these two fantasy-action films – about an architect accepting a commission to build a temple for a maharaja – that also marked a return to the silent epics of his early years. Shown in its original German language version with English subtitles.Guest Host and Curator: Samm Deighan

APRIL 13 – REEL BLACK CINEMA PRESENTS TV MOVIES OF THE 1970sDummy (1979 / 75 minutes)Levar Burton plays a deaf mute wrongly accused of rape and murder. Based on the real-life case of Donald Lang, this Emmy-nominated film co-stars Paul Sorvino as hearing impaired lawyer Lowell Myers.The Greatest Thing That Almost Happened (1977 / 100 minutes)Adapted from the novel by Don Robertson, Jimmie Walker plays a high school basketball player stricken with sickle-cell anemia. Tony nominated director Gilbert Moses enlists a strong supporting cast, which includes James Earl Jones, Kevin Hooks and Debbie Allen (re-teamed with her Good Times co-star Walker in her movie debut).Guest Host and Curator: Mike Dennis 

MAY 11 – EARLY ALMODOVARPepi, Luci, Bom (1980 / 81 minutes)Pedro Almodovar’s rarely screened first feature feature about three friends features many of the traits he became well known for, including the power of women, homosexuality, drugs, pitch-black comedy, and Carmen Maura.What Have I Done to Deserve This? (1984 / 101 minutes)Carmen Maura gives another brilliant performance as an overwhelmed, working-class housewife in another of Almodovar’s dark comedies featuring a murderous nod to Roald Dahl’s ‘Lamb to the Slaughter”, a prostitute, child-selling, telekenesis, an impotent policeman, a lizard witness, and more drugs/homosexuality.Guest Host and Curator: Mike Zaleski

JUNE 8 – ART HOUSE EROTICA DOUBLE FEATURELa Marge (1976 / 88 minutes)This little seen erotic film about a Parisian prostitute (Sylvia Kristel) who meets a businessman (Joe Dallesandro) from the countryside is one of director Walerian Borowczyk’s greatest achievements. Despite her aloofness, their encounters develop into a deep emotional attachment as his home life falls apart and tragedy strikes.Der Bomberpilot (1970 / 65 minutes)One of the most experimental films of New German Cinema is this colorful, somewhat lurid tale from Werner Schroeter, which follows the lives of three women in a traveling cabaret troupe from the excesses of Nazi Germany to hardship in the postwar years.Guest Host and Curator: Samm Deighan 

JULY 13 – CLARA BOW DOUBLE FEATUREKid Boots (1926 / 60 minutes)Eddie Cantor stars in this slapstick comedy. His friend Tom wants a divorce, but must stay married long enough to receive an inheritance. Unfortunately, he’s in Palm Beach, and tempted by all the beautiful girls there. Cantor tries to help him stay faithful, but then falls for Clara Bow himself (and who wouldn’t?).Mantrap (1926 / 70 minutes)Lonely Canadian bachelor Joe (Ernest Torrence) takes a trip to Minneapolis. He meets a pretty manicurist (Clara Bow) in a barber shop, and soon takes her back to Mantrap, Canada to marry her. The only trouble is she can’t help constantly flirting with other men – including the divorce lawyer who comes to town.Guest Host and Curator: Andrew Gilmore 

AUGUST 10 – ’90s DRUG-FUELED FREAK-OUTSGift (1993 / 80 minues)Perry Farrell and Casey Niccoli’s experimental, shot-on-video feature telling a story of a couple’s heroin addiction, set in the rock and roll world of Farrell’s band Jane’s Addiction. Made while the band was at the height of success and publicly struggling with real-life substance abuse issues, Gift wavers uncomfortably between death-wish braggadocio and an eerie call for help. The stripped-down lovers’ melodrama is framed by vivid Tijuana-shot concert footage of Jane’s Addiction in their fleeting heyday.The Love God (1997 / 82 minutes)Director Frank Grow’s little-seen masterpiece is a phantasmagorical tale of love and obsession at lower Manhattan’s Love Hotel, a dumping ground for prematurely-released mental patients. Grow sees the film through the deranged eyes of his bugged-out characters while never losing sight of their humanity. Awash with garish day-glo colors and madly stomping along to a score by Australia’s Lubricated Goat, The Love God unloads some wild shocks while barely hiding a deep compassion just beneath the mayhem.Guest Host and Curator: Dan Buskirk

SEPTEMBER 14 – BOLDLY INTO THE DARKSelected ShortsThe men and women who made these animated films were free; they did not have to answer to any studio, appeal to any demographic, or argue with actors, nor were they were bound by the laws of gravity, time and logic.  Each answered only to his or her heart and imagination.  As a result, these films go places and do things no feature film would dare… Begotten (1990 / 72 minutes)In Begotten, Edmund Elias Merhige separates the darkness from the light to reveal the beginning of everything: matter, motion, myth, sex and Cinema itself are born on the screen in blood and fire.  We are witness to forbidden rituals and images that conjure the savage poetry of James Dickey and terrible beauty of Ingmar Bergman.  Though we can’t look away, we feel we shouldn’t be watching…Guest Host and Curator: Ted Knighton

OCTOBER 12 – GRINDHOUSE GOTHICThe Witch Who Came From the Sea (1976 / 88 minutes)“Molly really knows how to cut men down to size!” was the tagline for this deeply atmospheric “video nasty” with great location cinematography, dramatic heft, and a haunting turn from Millie Perkins as Molly, who seems to leave a trail of deadly sexual multialtions in her wake, but why…? Toys Are Not For Children (1972 / 85 minutes)Jamie’s (Marcia Forbes) obsession with her absent father and the toys he gave her as a child ruins her marriage and leads her into a life of prostitution in this exploitation drama filled with equal parts of the bizarre and of melancholy.Guest Host and Curator: Mike Zaleski 

NOVEMBER 9 – PRE-CODE COMEDYShow Girl in Hollywood (1930 / 77 minutes)Flapper comedienne Alice White stars in this musical comedy as an unemployed chorus girl who decides to leave Broadway and go to Hollywood to find a job in the new field of “talking pictures”, but finds it’s not as easy to get into the movies as she had hoped.Girl Crazy (1932 / 74 minutes)Zany vaudevillians Bert Wheeler and Robert Woolsey star in this George & Ira Gershwin-scored musical comedy. Gambler Woolsey hires taxi driver Wheeler to drive him to Custerville, Arizona, where the sheriffs always get bumped off. Woolsey tries to get out of paying his taxi bill by talking Wheeler into running for sheriff against the town’s nastiest bandit, and hilarity ensues.Guest Host and Curator: Andrew Gilmore

DECEMBER 14 – DIABOLICAL FRENCH DRAMAUnder The Sun of Satan [Sous le soleil de Satan] (1976 / 97 minutes)Gerard Depardieu stars in Maurice Pialat’s film about the nature of evil, where a particularly zealous priest in the French countryside becomes tempted by the devil and is obsessed with saving a young murderess (Sandrine Bonnaire) who has killed one of her lovers. The Devil, Probably [Le diable, probablement] (1977 / 95 minutes)Robert Bresson’s penultimate film follows the attempts of a suicidal young man (Antoine Monnier) to find some meaning or value in society by immersing himself in religion, politics, and even psychology, all for nought.Guest Host and Curator: Samm Deighan

Queering Sound & Image

March 10th - Workshop & Panel

March 26th - Live Performance (Moor Mother, Sarah Hennies, Emily Bate)

“…the visual shot is a container, a container of time and space with definite spatial and temporal borders, whereas with sound it is just the opposite.” Michel Chion

Workshop: 6:30pm

Panel: 8:00pm

Artist, filmmaker and sound artist, Catherine Pancake, presents a special workshop and panel regarding SOUND FOR FILM from a diverse theory and identity perspective. The workshop is supported by Pancake's 2016 Leeway Foundation Art & Social Change Grant awarded for sound work for Pancake's current feature documentary in progress "Queer Genius."

The workshop is free and open to the general public for diverse sound technicians, musicians, filmmakers, theorists and those who love thinking about and creating sound tracks for film and moving image. The interactive workshop will touch on technical, creative, and political issues regarding sound for film and moving image projects. 

The workshop will be followed by a panel and community discussion celebrating and responding to diverse approaches to sound for film. The panel includes local artists Iris Devins, John Morrison, Deidre Maitre, and Emily Bate.

Bios: 

CATHERINE PANCAKE is an award-winning filmmaker and sound artist currently living in Philadelphia PA. Her films have screened at museums (MoMA) and festivals as well as broadcast internationally (PBS, Sundance Channel.) Recent commissions and gallery exhibitions have been discussed in Artforum, Vice, and on NPR. 

IRIS DEVINS is a writer, director, producer and 2017 Sundance Film Festival Knight Fellow. She works in narrative and documentary film with an emphasis on intersectionality. Her documentary work has screened across the United States, Latin America, Canada, and Europe. She received funding from the Leeway Foundation Art and Change Grant to complete post-production on her narrative short, After the Date. The film portrays a romance between a trans woman and a straight man. The relationship flourishes, and the two face oppression from the outside world. She completed her MFA in Film and Media Arts at Temple University. She has worked as a freelance filmmaker, editor, graphic designer, and film instructor.

EMILY BATE is a Philadelphia-based singer, composer and harmony fanatic. Recent projects include choral theater piece "Going Down Mount Moriah," and frequent collaborator Erin Markey’s anarcho-musical "A Ride on the Irish Cream," which she co-composed and performed in. The music in Irish Cream was “accessible, often punchy pop-rock” (New York Times), whose “soaring musical numbers” (Artforum) were “startlingly gorgeous, and packed with heavenly harmonies” (New York Post). Other upcoming collaborations include pieces with The Bearded Ladies and MJ Kaufman, and music for the film "Queer Genius" by Catherine Pancake. emilybate.com

JOHN MORRISON is a musician, DJ, and music critic located in West Philadelphia. He had deep interests in African-American musical culture rooted in Philadephia influenced by outsider and Afro-futurist thought. Morrison’s music reviews and interviews with cultural figures have been published by the Philly Voice.

DEIRDRE MAITRE received a BA in History & Film from the University of Massachusetts at Amherst where she was closely mentored by pioneer, award-winning filmmaker Liane Brandon. She is a graduate of the MFA program in Film & Media Arts at Temple University, with an emphasis of study in narrative and documentary. Her works have aired on local and national television and throughout the film festival circuit. Notable selections include New Directors / New Films (MoMA and The Lincoln Center), LA Film Festival, Mill Valley International Film Festival, Seattle International Film Festival, Denver Starz, Chicago International Film Festival and Cinemigrante Buenos Aires with positive reviews from significant publications including IndieWire, Filmmaker Magazine, The Hollywood Reporter, The Wall Street Journal, Screen Daily and Film Journal International.

Admission is FREE 

 The Rotunda & Vision Driven Consulting are teaming up to bring resources and capacity-building workshops to self-producing artists/musicians and event curators in all disciplines.

Workshops are held: 2nd Monday of each month

6:00 – 8:00pm at The Rotunda (4014 Walnut St, Philadelphia)

All workshops in the series are FREE and OPEN to the public! Refreshments provided. 

Special guest presenters and facilitators will be announced each month.

If you want to receive workshop reminders, join Vision Driven Artists - Philadelphia, a closed Facebook group for Philadelphia-based artist/arts organizations.

http://www.visiondrivenconsulting.com/artists.html

2016 - 2017 WORKSHOP SCHEDULE

Developing Campus/Community Collaborations (September 12th)

• Hear stories of successful campus and community collaborations

• Learn how to find campus and community partners

• Avoid common problems and learn how to build mutually beneficial partnerships

Goal Identification & Measurement (October 10th)

• Identify what you want to achieve in your projects

• Incorporate critical feedback and self-reflection into your arts practice

• Brainstorm and receive tools for measuring success

Nonprofit, LLC, or Fiscal Sponsorship (November 14th)

• Discuss the pros and cons of various structures – pool experiences and get new ideas

• Craft your mission statement to determine the structure that best suits your practice

• Sole-proprietor, LLC, 501(c)3: understand the structures and how your projects fit into them

2017 Planning (December 12th)

• Plan your upcoming year of work 

• Identify your goals and break them into achievable tasks

• Plot your tasks on a timeline for 2016

Fundraising Basics (January 9th)

• Learn the language of fundraising 

• Maximize opportunities beyond grants to support your projects

• Brainstorm actual fundraising ideas for your work

Taxes for Artists (January 23rd)

• Learn the language of fundraising 

• Maximize opportunities beyond grants to support your projects

• Brainstorm actual fundraising ideas for your work

Grant Writing – Beginner (February 13th) 

• Demystify the language and process behind grant writing

• Receive tools for finding grants 

• Read actual grant proposals to learn common mistakes and important proposal components 

Grant Writing – Intermediate (March 13th)

• Review aspects of a strong grant proposal

• Practice writing an actual grant 

• Receive feedback on your draft proposal 

Real Budgeting for Real Work (April 10th)

• Look at sample budgets and learn how to interpret the story behind the numbers 

• Create a budget tailored to your goals for 2016

• Learn how to assemble a project budget for potential funders

Getting People to Show Up (May 8th) 

• Learn new techniques for building an audience and your ideal project participant

• Troubleshoot issues with audience development that you may have had in the past

• Identify marketing techniques to keep people showing up to your future events

Getting New Projects off the Ground (June 12th)

• Identify the strengths, weaknesses, opportunities, and potential threats of a new project 

• Think through the components of your project and its goals 

• Hone in on the details of your program or project and begin a draft project plan

Crowdfunding 101 (September 11th)

• Learn how to tell if crowdfunding is right for your project

• Discover the pros and cons of  crowdfunding platforms

• Hear from a panel of artists who have run successful crowdfunding campaigns

Speaking Tech (September 25th)

• Learn what event curators and sound engineers wish you knew when arriving to a performance

• Receive sample templates of contracts, tech riders, and advance sheets

• Practice using templates with real-life examples

Setting & Measuring Goals (October 9th)

• Identify what you want to achieve in your projects

• Incorporate critical feedback and self-reflection into your arts practice

• Brainstorm and receive tools for measuring success

Theatre of the OppressedUNPACKING RACEA 4-Part Workshop Series 

Every Tuesday in March - March 7, 14, 21, and 28 • 6:30-9:00 PM 

Tuition $45-$125, sliding scale

Worktrade available upon request

Sign up via "tophilly@gmail.com"

On Tuesday nights this March we bring back our popular series on race and racism.  Over the course of four weeks we'll explore this topic through a variety of exercises, discussions, and techniques from the Theatre of the Oppressed, supplemented by things to read and do between sessions. Our aim is to unlearn the systemic racism we’ve been taught throughout our lives, to heal from racial privilege and oppression, and to offer starting points for structural and personal change in ourselves, our communities, and our world. 

The March 2017 Unpacking Race Series is open to anyone who can attend all four sessions. Tuition is sliding scale: $45-$125, payable at the first session. To sign up, email "tophilly@gmail.com" or leave a message at 267-282-1057. If you are interested in worktrade or childcare, contact us by February 22.

Bowerbird presentsCommunity Futurism: An Evening Curated By Moor Mother

The evening features two sets by Moor Mother, working under the theme of Community Futurism, in collaboration with Black Quantum Futurism and the Community Futures Lab. The first set includes improv collaboration of live instrumentation with drums, saxophone, bass, synth, and text. The second features music from the album Fetish Bones as well as unreleased songs by Moor Mother. Artists include Rasheedah Phillips, Madam Data, Keir on sax, Philip on drums, and George and Steve on bass. 

Camae Ayewa (Moor Mother) is a national and international touring musician and has performed at numerous festivals, colleges, and universities sharing the stage with King Britt, Islam Chipsy, Claudia Rankine, and Bell Hooks as well as opening on tour for Screaming Females. A soundscape artist with work featured at Samek Art Museum, Metropolitan Museum of Art Chicago, ICA Philadelphia, and Everson Museum of Art, Camae is also a vocalist in punk band The Mighty Paradocs and free jazz group Irreversible Entanglements. Camae is co-founder and organizer of Rockers! Philly, a 10-year long running event series and festival that focuses on marginalized musicians and artists spanning multiple genres of music. As Moor Mother, she released her debut album Fetish Bones on Don Giovanni Records. It was named 3rd Best Album of the Year by The Wire Magazine, #1 by Jazz Right Now, and appeared on numerous end of the year lists from Pitchfork, Noisey, Rolling Stone, and Spin Magazine. Moor Mother was named by Rolling Stone as one of 10 Artists to Watch in 2016 and named Bandcam's 2016 Artist of the Year. Camae also released her first book of poetry called Fetish Bones in Winter 2016 on The AfroFuturist Affair small press. As a member of Black Quantum Futurism Collective (BQF), she has been a part of two literary works and several zines, and has been featured in exhibitions at the Schomburg Center, Rebuild Foundation, Temple Contemporary at Tyler School of Art, and more. Camae Ayewa is a 2016 Leeway Transformation Award and Blade of Grass 2016 Fellow, has been an in artist in residency at West Philadelphia Neighborhood Time Exchange and WORM! Rotterdam residency, and will be featured with Black Quantum Futurism at Transmediale Festival in Berlin 2017. Moor Mother has appeared in the Quietus, the Fader, Vice and others. Moor Mother's upcoming schedule includes Berhaign, Safe as Milk Festival, CTM Festival, MoogFest, and Donau Festival.

The Philadelphia Intersectional Feminist Group will be discussing the article below, by Jarune Uwujaren and Jamie Utt, on practicing intersectional feminism. It's only a couple pages, so please read it before the event! The article proposes three ways of practicing intersectional feminism in our activism and our own lives: (1) self-reflect, (2) decenter your perspective, and (3) be willing to make mistakes. We'll discuss these principles together and break up into smaller groups.

Why Our Feminism Must Be Intersectional (And 3 Ways to Practice It)

http://everydayfeminism.com/2015/01/why-our-feminism-must-be-intersectional/

AGENDA 11am Welcome11:15 - 12:30 Discussion12:30 - 12:45 Break12:45 - 2:00 Discussion & Community Announcements

Admission is FREE

The 2017 PYPM Semifinals

Our post-season has arrived as 12 poets take the stage for a chance to join Kadidja, Matt and Cassidy in the 2017 Grand Slam!

2017 Semifinalists:

-Ndeen-Otter-Jazer-Ian-Ruja-Nakhiya-Jada-Da'Quan-L'tajh-Ariana-Shrimina-David

Doors open at 6 PM. $7 for Youth - $10 for Adults

Theatre of the OppressedUNPACKING RACEA 4-Part Workshop Series 

Every Tuesday in March - March 7, 14, 21, and 28 • 6:30-9:00 PM 

Tuition $45-$125, sliding scale

Worktrade available upon request

Sign up via "tophilly@gmail.com"

On Tuesday nights this March we bring back our popular series on race and racism.  Over the course of four weeks we'll explore this topic through a variety of exercises, discussions, and techniques from the Theatre of the Oppressed, supplemented by things to read and do between sessions. Our aim is to unlearn the systemic racism we’ve been taught throughout our lives, to heal from racial privilege and oppression, and to offer starting points for structural and personal change in ourselves, our communities, and our world. 

The March 2017 Unpacking Race Series is open to anyone who can attend all four sessions. Tuition is sliding scale: $45-$125, payable at the first session. To sign up, email "tophilly@gmail.com" or leave a message at 267-282-1057. If you are interested in worktrade or childcare, contact us by February 22.

SPEC Jazz & Grooves is back in action with another stacked lineup 

~come vibe w us~

Daniel Caesar - https://soundcloud.com/danielcaesar 

Ivy Sole - https://soundcloud.com/ivy-sole

CHAI - https://soundcloud.com/chai_music

Omar's Hat - https://www.facebook.com/OmarsHatPhilly/

Website: jazzandgrooves.com

SC: https://soundcloud.com/jazzngrooves

Twitter, Insta, and Facebook: @jazzandgrooves

Tickets are $5-10 and can be purchased at https://upennspec.ticketleap.com/jazz--grooves-presents/

Penn Social Policy and PracticepresentsScreening Social Justice

Please join us for a screening of: Taqwacore: The Birth of Punk Islam The screening will be followed by a live performance by The Kominas. Sponsored by: Penn Social Policy and Practice and Campaign for Community 

Resistance is Fertile Featuring:Sylvia PlatypusLisa ChosedAmanda SpitfireRosetta WilliamsJames Inxmusic ChurchKirwyn SutherlandElijah PryorMike RomanoTracey CorettaLili BitaAlix PaulJana NogowskiKimya Imani JacksonRaj SarmaJessica GraaeThey & ThemLaura Kalnajs

Beneficiary - Water Protector Legal Collective (Standing Rock legal defense)

Explore the meaning of Resistance as expressed through the music, dance, and spoken word of a diverse array of artists. At evening’s end, join us for a sing-along featuring songs from the golden era of protest led by Sylvia Platypus. (Lyrics provided!)

content may not be appropriate for children

contact@dysfunctionaltheater.com

Suggested Donation - $5-15 (nobody turned away for lack of funds)

Queering Sound & Image - LiVE PERFORMANCES

March 10th - Workshop

March 26th - Live Performances

6:30pm to 9:30pm

LIVE:Moor MotherSarah HenniesEmily Bate

The second of two "Queering Sound & Image" events by Catherine Pancake supported by her 2016 Leeway Art & Social Change Grant.

The LIVE event will feature artists who are currently composing works for inclusion in Pancake's "Queer Genius' documentary. The event will showcase performances by Moor Mother, Sarah Hennies & Emily Bate. Pancake will screen preview clips from the documentary Queer Genius.

Moor Mother: http://pitchfork.com/reviews/albums/22424-fetish-bones/

Sarah Hennies (b. 1979, Louisville, KY) is a composer and percussionist currently residing in Ithaca, NY. Her work is primarily concerned with an immersive, psychoacoustic presentation of sound brought about by an often grueling, endurance-based performance practice that Nathan Thomas of Fluid Radio described as "a highly sophisticated and refined performance technique...that starts and ends with listening and encourages a different way of listening from its audience." She received her M.A. in percussion from the University of California-San Diego in 2003 where she studied with renowned percussionist Steven Schick, and is currently a member of Meridian, a percussion trio with Tim Feeney and Greg Stuart. Prior to relocating to Ithaca, Hennies was based in Austin, TX, for ten years where she performed with the Austin New Music Co-op, The Weird Weeds and a variety of other projects. 

Emily Bate is a Philadelphia-based singer, composer and harmony fanatic. Recent projects include choral theater piece "Going Down Mount Moriah," and frequent collaborator Erin Markey’s anarcho-musical "A Ride on the Irish Cream," which she co-composed and performed in. The music in Irish Cream was “accessible, often punchy pop-rock” (New York Times), whose “soaring musical numbers” (Artforum) were “startlingly gorgeous, and packed with heavenly harmonies” (New York Post). Other upcoming collaborations include pieces with The Bearded Ladies and MJ Kaufman, and music for the film "Queer Genius" by Catherine Pancake. emilybate.com

Admission is FREE

Theatre of the OppressedUNPACKING RACEA 4-Part Workshop Series 

Every Tuesday in March - March 7, 14, 21, and 28 • 6:30-9:00 PM 

Tuition $45-$125, sliding scale

Worktrade available upon request

Sign up via "tophilly@gmail.com"

On Tuesday nights this March we bring back our popular series on race and racism.  Over the course of four weeks we'll explore this topic through a variety of exercises, discussions, and techniques from the Theatre of the Oppressed, supplemented by things to read and do between sessions. Our aim is to unlearn the systemic racism we’ve been taught throughout our lives, to heal from racial privilege and oppression, and to offer starting points for structural and personal change in ourselves, our communities, and our world. 

The March 2017 Unpacking Race Series is open to anyone who can attend all four sessions. Tuition is sliding scale: $45-$125, payable at the first session. To sign up, email "tophilly@gmail.com" or leave a message at 267-282-1057. If you are interested in worktrade or childcare, contact us by February 22.