FOR IMMEDIATE RELEASE – NOVEMBER 15, 2007 Big Soul Productions Inc. and Q-Music Studios present The 24-hour Music JamFest – A Modern 49er. The “49er” is the party thrown after a pow-wow. 49er songs are round dance style music where the performers sing love songs with very tongue-in-cheek and sometimes raunchy lyrics. The 49er tradition was said to have been started somewhere in Oklahoma although there is no one person or place who has taken credit for starting these gatherings.

(Toronto – December 1 and December 2, 2007) - Musicians and performers of all nations, styles and disciplines are being invited to participate in the first-ever 24-hour Music JamFest, a Modern 49er, from 11:00 a.m. Saturday, December 1 to 11:00 a.m. Sunday, December 2, 2007. Conceived and presented by Big Soul Productions and Q Music Studios, this groundbreaking event will provide an invaluable opportunity for cross-cultural and cross-genre musical experimentation, networking and great times, including the use of a state-of-the-art recording facility at no cost to the artists. Taking place at the Q Music Studios at 401 Richmond Street West, Suite B102 in Toronto, the jam will consist of 90-minute sessions. Confirmed artists include Juno-award winner, Leela Gilday, the Juno-nominated and Canadian Aboriginal Music Award recipient, Jason Burnstick, and rapper/actor Ostwelve (Moccasin Flats), and many more.

“There are so many artists in Toronto that weekend and I saw an opportunity to not only bring them together creatively but to also bring together the traditional with the contemporary by using the 49er format. I can’t wait to see what is created through this process.” Said Laura Milliken, creator and co-presenter of the 24-Hour JamFest and President, Big Soul Productions. Performances will be recorded live from the floor on the Q Music 5.1 HD Protools Suite and videotaped throughout the jamfest.

“All of the resources are being provided by Q Music Studios and Big Soul and it is free for all participants. That reinforces that the spirit and intent behind this project is entirely creative, collaborative and fun not just for the participants, but us too!” said Donald Quan, co-presenter, 24-Hour JamFest and President, Q Music Studios. All participants must pre-register with kim@bigsoul.net. Protocol for the jam and sign-up procedures are now available and being circulated. Information will be posted at http://www.myspace.com/bigsoulproductions. Volunteers are also being recruited for camera operators, sound engineers, engineer’s assistants, and hosts.

Laura J. Milliken is the President of Big Soul Productions Inc. She is the accomplished and award-winning producer of short films, television dramas, music videos, and animated series. For more information about her work, visit www.bigsoul.net.

Donald Quan is the Q behind Q-Music Studios. His film music company has provided music services to hundreds of television, film, radio and multi-media productions, including the popular television shows “Relic Hunter” (starring Tia Carrere for Fireworks) for which he was nominated for a 2002 Gemini Award, “Mutant X” (Tribune Entertainment) and “Tracker” (starring Adrian Paul for Lions Gate) as well as feature films “Expecting”, “Eve”, and the new CBC comedy “Getting Along Famously”. He is also responsible for the current themes for Movie Television (City-TV) and the cable network APTN.

For event information visit: http://www.myspace.com/bigsoulproductions

To register or volunteer for the event contact, Kim Ross: 416-598-7762 kim@bigsoul.net

Finally, The Canary Effect dir. Robin Davey and Yellow Thunder Woman, available for purchase on their official website site: http://thecanaryeffect.com
Looks like there is a some added footage as well as an interview with the directors. $20.00 includes postage!

Not a bad deal.

Get your copy today, or tomorrow, or whenever your check comes in.

American Indian Community House Presents its
25th ANNUAL INDIAN MARKET 2007 beginning
December 1 to 9, 2007
12 pm to 8pm daily
Free Admission

Where:
Judson Memorial Church
243 Thompson Street
(between West 3rd St. & Washington Square South)
New York City

The American Indian Community House (AICH) is pleased to announce our 25th annual Indian Market 2007. Please join us for nine exciting days when we host Native American artisans from across the country selling their handmade jewelry, beadwork, sculpture, moccasins, music, botanicals and other items. There will be daily raffles of art donated by the vendors. Admission is free and the venue is fully wheel chair accessible.

Since 1977 the mission of the American Indian Community House Gallery has been to support and promote contemporary Native American Art in both Traditional and Non Traditional forms, educate the general public about the diverse experiences of contemporary Native people, and act as a resource for the local and national Native American arts community. The AICH gallery has the distinction of being the only Native American operated contemporary art gallery in New York City. All proceeds will go to benefit the American Indian House Gallery so that we can continue to support our artistic community.

Christmas in Santa Fe 2007 Gallery Benefit and Art Auction to launch AICH’S 25th ANNUAL INDIAN MARKET
Special Host Irene Bedard
November 30, 2007
7:00 pm – 11:00pm

The auction will include art and jewelry by:
Hulleah J. Tsinahjinnie, Larry Mc Neil, Aaron Brokeshoulder, Jesse Cooday, Douglas Miles, Ben Turquoise, Annabel Wong, Sarah Sense, Beverly Singer, Terrol Dew Johnson, Jay Carrier, Laura Ortman, Gabriel Rodriguez, Shelly Niro, David Green, Paul Deo, Jacinthe Le Cornu, Anthony Two Moons, Venus Brightstar and more.

Golden Globe Nominated Actor Irene Bedard will host American Indian Community House’s 2nd annual gallery benefit with a silent and live auction featuring jewelry and fine art from various artists. Moreover there will be an opportunity to preview additional works that will be on sale during Indian Market. For 30 years the AICH gallery has the distinction of being the only Native American operated contemporary art gallery in New York City. All Proceeds from tickets and art sales will go to the American Indian Community House Gallery so that we can continue to support our artistic community.

in the mean time is an exhibition responding to the governmental refusal to sign the Declaration on the Rights of Indigenous Peoples which was recently considered by the United Nations General Assembly. The process was brought to a stalemate during the 61st session in September this year by Australia, USA, Canada and New Zealand. The artists in the exhibition are representative of the four countries, commenting on the times that we live in.

Native American artist James Luna will show ‘Spinning Woman’ a video installation from ‘Emendatio’ his solo exhibition as part of the 2005 Venice Biennale. Showing alongside is Redfern-based painter Gordon Syron, an urban art pioneer with a penchant for the issues of (re)colonisation and Nadia McLaren offers her feature film documentary ‘Muffins for Granny’ a complex story of personal and cultural survival featuring interviews of six Native Canadian Elders who describe the physical, emotional and sexual abuse they suffered at Catholic Residential Schools.

Other artists in the exhibition examine a range of issues including cultural maintenance, media critique, pride, resistance and ecological sustainability through a range of contemporary artistic media.

The artists were brought together by Jenny Fraser, who says of the show ‘in the mean time’ highlights mean spirited actions that should never be suppressed, but brought out in the open and discussed in public forums and lounge rooms alike, communication is the first step towards problem-solving. This is not just a problem for Indigenous people, mean-spirited actions of governments affect most of us. The artists in this exhibition are strong people who offer food for thought”.

in the mean time’ will open at 6pm on Friday 7th December, 2007 at Raw Space Galleries, 99 Melbourne St, South Brisbane and close on Wednesday 2nd January, 2008, featuring James Luna, Gordon Syron, Christine Christophersen, Sharyn Egan, Nadia McLaren, Adam Martin, Andrew Hill, Bethany Edmunds, Kewana Duncan and artist/curator Jenny Fraser.

^{more info:}

^{Raw Space Galleries - http://www.rawspace.org}

^{‘Muffins for Granny’ by Nadia McLaren http://www.myspace.com/muffinsforgranny}

^{Artist/Curator Jenny Fraser - http://www.geocities.com/dot_ayu/index.htm}

^{contacts: gallery@rawspace.org dot_ayu@yahoo.com.au}

We arrived at A Space Gallery on Richmond Street to attend the RE/Translation: Land & Language exhibition. Jude Norris, a woman I befriended in New York, was participating in the show. She is an internationally acclaimed multi-disciplinary Cree-Métis artist. Jude immediately greeted Laura and myself upon our entry into the gallery. She was as striking as the last time I saw her. The cadence of her speech was harmonious as was the symmetry of her demeanor. We chatted for a bit then I excused myself to view the works on display. Norris’ Strong Woman Dress was one of the more compelling pieces in the show-images of women were projected onto the surface of a Plains-style buckskin while an audio loop with the following statement played repetitively, “We are only defeated when the hearts of our women are on the ground” through headphones. The meaning of this work was not lost on me. Traditionally indigenous cultures were matrilineal however with European contact our ways were replaced with patriarchal paradigms. Moreover other oppressive constructs have threatened Indigenous ways of life: forced assimilation and acculturation. Language—the backbone of any culture—was also suppressed instigating a new integrated parlance. In her curatorial statement, Michelle LaVallee notes, “Aboriginal communities have extensively integrated and appropriated several languages both written and spoken…to communicate their own ideas, perspectives and stories.” This integration undoubtedly affects the language thus changing the meaning of words to a certain degree. Yet in spite of the resurgence of Aboriginal language initiatives you cannot help but note that something is still missing. Or rather something is not the same. It’s better than nothing I suppose. Or perhaps I just don’t get it?

Anyway, Jude was surrounded by a gaggle of well-wishers so I couldn’t ask. But I would catch up with her later. The line at the exhibition refreshments (wine!) table was long so Laura Ortman and I went to suck on cancerous canes. On my way out I ran into Gwendolen Cates. She joined us for a smoke outside. Cates briefly discussed Water Flowing Together her documentary film about Jock Soto, the Puerto Rican/ Navajo ballet dancer. She stated that the production was undoubtedly marred by dissent yet by following her vision the film able to be completed. However, some would argue that Cates’ version of events is not entirely true, but I digress. The point is Water Flowing Together is a portrait of a compelling artist and man or so I have heard as I have not seen it yet. When we returned to the reception Jude was still busy…I mouthed “Cawl Me!” to which she nodded and continued with her interview. Later Gwendolyn, Laura and I ended up on a VIP tour of CIRCA, a new club in downtown Toronto. Words cannot fully articulate the audacity of this place. Therefore I leave it to you my Toronto friends to experience and perhaps we can share notes in the future…Wow that place was RAD! The following day I woke up with every intention of making the True Romance: Shorts Program on time. Yet in predictable fashion I did not. Instead I meandered anbout the hotel room then gorged myself on an all-you-can-eat breakfast buffet at place called “Don’t Eat Here Because Our Food Will Give You The Runs!” Thank God for the Mediatheque (where you can view and listen to all works in the festival). Here are my notes maybe you can make sense of them and help me out:

Amalgamation: beyond gender (Dir. Marcella Ernest, 2007) Bodies–Corporeal, Traditional dancing, juxtaposed with details of lips/teeth/hair, Stylized, traditional views of woman versus taboo of same sex, jarring muddling voices. First Stories: Volume 111- Two Spirited (Dir. Sharon A. Desjarlais, 2007) “ the tribes have forgotten …” harboring female spirit in him, “ Since contact we learned to judge and condemn,” Shelly Niro ala Honey Moccasin, beautifully shot, vivid landscapes, Two Spirit people were once considered holy people, blessing, “if you dance to this you are going to be healing yourself,” His niece says Geeyo is his role model/idol, male jingle dancer, “I dance so that people can understand where I am coming from.” Destiny in Alice (Dir. Sonja Dare, 2007) Alice Springs, Lesbian capital of the outback, Priscilla Queen of the Desert, Dissections of house, Books etc., Idealized, Rose colored, Desert Rose, Archival Footage of protest, merging of cultures, Nature program, green and purple, out of hetero construct, transfer of knowledge, “ Culture Vultures”, tourists, ethnography, A- Team never far from glass of red wine, rarified lesbians, F- Troop good at playing pool, beer drinkers.

Make any sense to you?

On Saturday October 20 I had the profound pleasure to view Elijah and meet lead actor playing the role of Elijah Harper, Billy Merasty. He is a very humble and brilliant actor.

From the film festival guide this:

“Elijah (Dir. Paul Unwin, 2007) is a unique bio-pic. Elijah Harper goes from being a shy politician in Manitoba to the voice of a people when he stands against the Meech Lake Accord in 1990.”

For my take on this film please listen to our podcast. However, Billy did respond to an email I sent him.

Billy,

It was a pleasure to meet you and thank you for the pin…I wear it proudly! I also wanted to take this opportunity to ask a couple of questions?
-How did you prepare for your part?
-Are you statisfied with the finished picture?
-What are your future projects?
Thanks again…I am composing a blog on the Elijah screening for NAICA online and wanted to include some of your words. Hopefully I’ll see you soon.

Sincerely,

Sonny Grant aka the Apache Mohawk

His response:

Sonny, Dahling, it was a pleasure meeting you too. Always good to meet others of our ilk. And hope you’re well.

Alright then, to answer your question about how I prepared for the lead role of “Elijah Harper”- it helped that I knew him very well over the years, and that we both come from similar places up north-isolated fly- in reserves, where life can be dismal- as well as incredible. Elijah has a beautiful heart, and soul, and he truly cares about native people and is concerned about their integrity and welfare. (something that concerns me too.) He is also a very shy person but does not stand up to address what he knows is wrong and he does it with great wit and charm. I love the man. And yes, I’m very pleased with the result of the movie, it is very well made and it has great charm and people fall in love with it instantly and profoundly. I have been recieving great praise from my role in it, and yes, I am very proud of my work in the movie. And as far as my future projects are concerned, I will continue to go out to auditions as they come alonmg and win as many gigs as I am able to. I love the whole competitive process and I only hope that there are many other projects to come with roles perfect for me. Thank you.

Yours,
Billy Merasty

Every year the Association on American Indian Affairs, a nonprofit organization established in New York City in 1922, holds their annual board members meeting along with a cultural event that reflects their mission. This year they chose a short film showcase open to the public which was hosted at the National Museum of the American Indian. Before the board meeting convened and the screening began a lovely reception, also open to the public, was hosted in the American Indian Community House gallery which is located across the street from the NMAI.

Center: board member John Echohawk

I arrived about ten minutes before the reception began at the Community House. The food and beverages were already set out. I can’t say I wasn’t tempted to dig in, but I refrained taking time to set up my video camera and test my audio equipment. For the record, we are a fledgling nonprofit ourselves so any expenses incurred come out of our/my own pocket. This includes camera and audio equipment of perhaps not the highest quality…my lavaliere mic crapped out on me. I was sad, actually I was frustrated. But my video camera is actually quite good! (see videoplayer above) Folks started trickling in right at 5:30p.m. Honestly, I was surprised to see a large turn out of supporters, members and the curious. While testing my equipment a non-Native woman wandered in. She looked confused but curious, which is good, I suppose. Gallery director, Soni Moreno, offered her some coffee and assured her that the unsolicited email she received would net free food and fine films. So she stuck around and why not? It was a well-catered event! I particularly enjoyed the fresh fruit and selection of double cream cheeses.

a selection of cheese lovers.

face stuffers, on-lookers, and art enthusiasts at the AICH gallery.

For three years now independent director/advocate/curator Raquel Chapa has programmed the films for the AAIA sponsored showcase. Each year she selects films that closely align with the objectives of the organization which include endowing scholarships for higher education, cultural preservation, and language retention. Each of the films selected for this year’s showcase illuminated these themes pragmatically: documentaries, yet were also reflective, even poetic: experimental narratives. The showcase itself was only an hour long and only began after the public board meeting which took about a half an hour. I think most of those invited or tourists who had wandered into the museum from Battery Park were surprised to find themselves at a board meeting. Quite honestly, the board meeting was the most illuminating portion of the evening for myself as my organization is about to embark on it’s own nonprofit adventure. I sat taking mental notes, “Ohhhhh so that’s what you have to do! Ah hah! Mmmm-hmmm.” Then the films began after a brief introduction by the coordinator Lisa Wyzlic and curator Raquel Chapa.

The six films presented back to back were a balanced representation of the over-arching theme of cultural preservation-a main tenant in the association’s mission statement-but with a post modern self-reflexive awareness. Annabel Wong’s Kawdan’s Song illustrated this point concisely.

Laura Ortman makes music.

Modern Indians may still reside on reservations, an archaic concept for the uninformed mainstream, but they also travel between that space which informs their cultural identity and the urban cities which also mark their identity but in less overt ways. Not ironically, New York is the space that will make new marks on the young Native musician in Kawdan’s Song. A gifted violinist, she is offered an audition at Lincoln Center. We see her arrive at her friend’s home-a beautiful loft somewhere in Manhattan (I wish I had friends like these!). We see her take in the sights of the city from the balcony; luminous time-lapse footage of the Empire State Building is coupled with reaction shots from the lead actress Laura Ortman. Music was composed specifically to reflect the emotions the protagonist is feeling at any given moment while dialog is minimal. This can be hokey if not executed well. However the director chose wisely to rely on the strength of Ortman’s screen presence, musical talents and her interesting beauty does not hurt either. She has a face one can look at for some time and not be bored or annoyed, like, say with Natalie Portman. We then see her prepare for her audition transforming herself from laid back girl to refined metropolitan woman. The audition does not go as well as she hopes noting from the wings the difference between her emotionally provocative performance and that of her competitor who performs a decorous by the books number for the judges.

Making it as an artist of any stripe in New York City can be a crushing disappointment for most who move here with that goal. In Kawdan’s Song this fact of life is no exception. However, it seems to say “only crybabies run back to the rez!” The final sequence reveals a self-salving performance in the park at Union Square. If they won’t invite you to the party make one for yourself even if you do so illegally-I believe you need a permit to play in public spaces in NYC. However the fact our protagonist is fresh from the rez and therefore wouldn’t know the rules works for the scene nonetheless. It is probably an unintentional irony that the performer is Native American-taking back the land via illegal performance in a public space without a permit!
Kawdan’s Song-1/ Establishment-0
I’m making it sound like Flashdance minus the stripping and iron welding, but t’s not. And the film is less trite than it sounds. Although it could have easily devolved into histrionics but the absence of dialog, strength of performance-both musically and performance wise-aid the film in it’s intention, which I believe is a simple iteration of a common theme, never forget where you come from.

Fun Times with Good Friends

The second film was not surprising to see in this showcase because it brilliantly illustrates another of the tenants of the AAIA mission which is language retention. Cedar Sherbert’s Gesture Down (I Don’t Sing) is based in part on the poem Gesture Down to Guatemala by the late Native writer James Welch. It is a studied montage of title cards and glimpses of his Kumeyaay family across the Mexican border of California. It is a self-aware rumination of the intimately distanced relationship between his identity seen through the veil of modernity-videocameras, pickup trucks, super Walmart purchases married to loss of language and loss of cultural connection. I have only see this one short piece by Sherbert, he’s obviously talented. More importantly, he is self-reflexive. A truly post modern Native film maker. Let’s hope to see more from him very soon.

more scenes from the gallery.

Executive Director Jack F Trope goes in for a cookie

The last four films in the showcase were documentaries. Half of Anything asked the probing question, “What is a real Indian?” Sherman Alexie, John Trudell and two intellectual Indian girls (we can see they are intellectual because they are shown wearing glasses and meandering around university campuses) offered some long-winded answers. Of course Sherman had to make the most stupid statement in the film, “When I see Indians at my readings wearing ribbon shirts, I’m like, ‘Come on…’ It’s like they’re wearing a costume…” Really, Sherman? Really? I think someone’s jealous because he doesn’t look as good in pink and turquoise ribbons!
More stupid statements followed from an Indian radio producer in the documentary “Indians for Indians” radio program out of Anadarko Oklahoma. He claimed when people who are non-Native happen across the radio program and phone in or email to tell him how much they like and value his work he thinks, “O.K. that’s nice but I don’t care because, really, it’s not for them. It’s for Indians.”
I guess that’s why the show and documentary chronicling it’s history is called Indians for Indians? Hmm-mm, I reckon. On the other hand, it could be the Oklahoma red-neck in him that makes him think in such a self-circumscribed manner. In any case these two docos were not as well executed as the endeavors from Wong and Sherbert but they were certainly thought-provoking and also aligned with the objectives of the AAIA.

All together this showcase demonstrated what thoughtful curation and programming can achieve especially when produced with a specific agenda and target audience in mind-provocation of thought regarding the objectives of the AAIA while demonstrating the film-making and performance acumen of contemporary Native talent. It is no surprise that Raquel Chapa is completing a documentary for PBS on the Trail of Tears. We look forward to more of her curatorial efforts as well as the debut of her film.

*See the videoplayer above for a brief, impromptu interview with herself and actress/musician Laura Ortman.

Special Note: In case we haven’t said it enough or in the case it hasn’t sunk in yet the American Indian Community House gallery is an incredible space that showcases the often contemporary work of American Indian artists. You simply must make your way down there to check out the art and meet the lovely Soni Moreno, the gallery director, and the rest of the friendly staff.

all images: copyright maria colon

In this week’s episode I sound lonely so I call people:
Cindy Benitez gives us the 411 on this past week’s American Indian Film Institutes’s annual film festival.
Sonny Grant and I discuss censorship and the delineation between blogs and webzines.
Renee Gick and I cross hairs over modern cannibal’s and anthropology and manage to remain friendly colleagues even though our opinions differ. Gee, what a concept!

Special Note: We are sad to hear Micheal Spears did not win the best actor award at the AIFI but we are certain he will win an award for his acting endeavors from some institution somewhere in the world some time in the future.

photo: Mel Brooks and MGM

 Back in the Saddle [44:32m]: Play Now | Play in Popup | Download

Censorship: we do not not like it! we do not condone it! we will not tolerate it!

On the other hand, we endeavor to check our facts when making (farcical) statements about people places or things-most of what we have written is indeed founded on facts that can be readily found on the internet or in print. Well, perhaps, Val Kilmer doesn’t exactly live on his own reservation, but that was metaphor. And, it is funny! Actually I believe we’ve dubbed it “rancher-vation,” get it? It’s a ranch but he’s an Indian and Indians live on reservations and sometimes, if they are lucky, ranches, but mostly reservations..well no according to recent census records most Indians live in urban cities but mainstream America thinks they live on reservations or don’t live at all. See? It’s a fine line between creative articulations and boring fact based journo-blah blah. But we do endeavor to check our facts before posting.
However, opinions and rhetorical/diaristic blogging is another case altogether. If it is my opinion a film or exhibition is, or is not, lacking in anyway than I have a right to express my opinions on what amounts to a public display open to interpretation, i.e. a gallery opens it’s door to the public who consumes the show, a screening is held, people are invited to sit and watch, etc.

Interpretation. Interpretation. Interpretation which is mine and mine alone. In this case interpreting art events or whatever else I happen upon is the same as expressing my own opinion with the minor exception that I do not have to base my opinion in anything other than my subjective predilections while interpreting work for public consumption requires forethought, investigation and objective reason. As editor of NAICA and Longviews it has been a great thrill to me that most of the contributors to the webzine and blog have easily fell within this dichotomous writing style without my having to coach or weedle them. Objective journalism blends easily with their informed tastes to create the effect (perhaps illusion) of fine art and film criticism. We have lofty ideas here, critical and lofty.

Their writings have been inspired, their visual contributions (art direction, graphic design, photography, etc) consistently excellent, and again, their dedication to the advancement of Native cinema and contemporary art has gotten us where we are today which is largely broke but having fun. Being the forerunners on recognizing the growth of Native film and contemporary art nationally and globally is a relief as well. This is why I do not censor my collaborators when it comes to their writings, especially on something like a blog. We do not pretend that this space is anything more than a current events forum to express our opinions and offer timely interviews with artists, filmmakers and the like on topics of the day. Therefore, the contributors and interviewees must stand by whatever statements they make or criticisms they levy. To ensure public retort there is a nifty comments section per blog so that the general public may weigh in. Unfortunately, people are too lazy to bother registering. They jump to emails and phone calls often to negative effect-in most cases it turns out they only partially read the blogs.

Jee-bus save us!

If I can offer our dear readers, whom we are all too grateful for, any advice it is this: READ THE WHOLE BLOG AND EMPLOY COMPREHENSION SKILLS WHILST DOING SO!
Then if you have further questions or comments register here on the blog and tell us what you think. I promise we will post your comments and then we will respond-if necessary. I have to say, behind the scenes phone-calling and emailing isn’t as effective as people might think. Really, it makes the people who do it look lazy and uninformed and, even worse, as if they are lacking in fine reading comprehension skills. I mean I know I did pretty well on the verbal/analytical sections of the GRE and that makes me pretty much a genius but I sincerely doubt I am the only one who can discern subtext in writing and/or censorship issues-subtle and not so subtle.
Or maybe I am?

“Sunstroke” magazine: courtesy of crafty ole Colon

Join NAICA staff members, Sonny Grant and Maria Colon at the AICH for a pre-screening reception of short films presented by the AAIA in conjunction with the NMAI. Reception begins at 5:30 pm then we’ll all head across Broadway to the vaunted halls of the Smithsonian Institute to check out films by Cedar Sherbert, Annabel Wong and others.

Get the full details and directions here: http://thenaica.org/wordpress/2007/10/31/aaia-to-present-short-films-at-nmai-november-8th

Longviews will stream a video interview with the coordinator of this event Lisa Wyzlic from The AAIA and curator Raquel Chapa later this week…like tomorrow or Saturday. Also check out the hyperlinked websites to see what the heck AAIA, NMAI or AICH stand for.

We sure hope the AICH has their “Lower Manhattan” famous black bean dip out tonight!

We’ll keep you posted.