People @ Goddard
Before attending Goddard as an undergrad, my educational experience was quite varied, to say the least. I must have attended umpteen community colleges in various regions throughout the United States, as well as a small private school in Boston, and two large universities in Maryland. Meanwhile, I had a baby, and I was a single mom. When I found Goddard during one of their one-day orientations, I knew I found home! I loved the 8-day residencies. It was my “vacation” away from home—not that we didn’t do any “work.” I was challenged by both my peers and the faculty to really dig into my interests, because Goddard wasn’t about telling me what to learn. I learned how to learn on my own, and how to follow my nose, and how to “read” a book (you can ask me about this one) and take notes in ways that a conventional college wouldn’t ever have you learn! The independent study program was perfect for me because no one was forcing a syllabus into my hands and interpreting material for me. As an undergrad, I “studied” Asian American Gender Studies and Music, and as a graduate student, I specifically “studied” the Filipina-American Identity through videomaking, poetry, painting and music. As I learned about racial-cultural-gender identity, I raised my biracial son…and to this day, we continue to learn about identity. Through the BA and MFA programs, I learned that I didn’t have to go outside of my interests for my research to be validated. As a student, my video work was shown at the Michigan Womyn’s Festival and my poetry was published in the Pitkin Review – and those works would not have been made if Goddard hadn’t gently guided me through my process!
Admissions Manager, Staff
Pamela S. Booker
Residency Sites: Plainfield, VT
Choreographer Twyla Tharp reminds us that “Gathering chaos into a satisfying order is a daunting challenge. You have to train for this struggle.” I value deeply her observation as an affirming call to action. Like many of our students, I also completed my undergraduate studies as an adult learner. Over the course of my journeying as learner and educator, I've discovered that our relationship to the pursuit of knowledge is often based on the fear of what we lack, need, mislaid. It excites me to support my students in naming their fears and mining the “chaos” through practices and stages of learning that are adaptable and carefully considered. When inspired to read/see/hear/migrate across disciplines, boundaries and taboos, we move closer to mapping and perhaps finding solutions for addressing the ethical and moral dilemmas that drive human nature.
When asked to name myself I respond: Artist/Scholar; Trans-disciplinary Writer and Knowledge Worker.
My passions as an artist and scholar are worn as theoretical undergarments and concerned with how we really “wear” our most compelling ideas. As a trans-disciplinary writer, my fiction, essays, and performance-based works have been published and staged in the United States and internationally at universities: Oxford, Rennes, Málaga and Mὕnster. Recent writer fellowships and residencies include: (VCCA) Virginia Center for the Creative Arts, (FAWC) Provincetown Fine Arts Work Center, the Norman Mailer Writers Colony and group art shows in Kuala Lumpur, Malaysia, and Singapore.
My creative and intellectual practices synthesize the arts and sacred-ethics/rationalism, human sustainability, and literary, social, and cultural theories. Theories that explore race, gender identities, class and community-building, when partnered with creative sites, are powerful tools. When examined as hybrid/integrative narratives, we see them in performance and literary texts, sound design, technology and social media, architectures/design and visual arts. In storytelling they might be called: (auto)ethnography, fiction/novel, orality/spoken-word/poetics, memoir/truth-telling and reconciliation. The point is - they transform us - challenge myths, dilute assumptions, insist upon justice, and encourage (out)rage and laughter.
When wedded to critical thought, trans-disciplinary practices remain vital ways of exploring structures of consciousness and human potential. Critical thought, compassion and reasoning are more vital now, during a particularly heightened time in the world when nearly any thinking that instigates questioning beyond the obvious or relies on intuited gifts, is seemingly less valued.
It requires daring and courage to be curious. How do you practice, imagine and write change? Usually it requires dissatisfaction or betrayal to finally ask an effective question. What colors your voice, your wisdom? How do you unpack complex and difficult thoughts without losing the joy in which the experience or resistance might be contained? How do you respond to and demystify power and dominance? How do you shape tools of expression? How are you grounded? Where's your tree?
Currently I'm pursuing the Ph.D. in Leadership & Change at Antioch University, and Writing Faculty in Arts & Science at New York University. My studies focus on issues of sacred intellectualism, creative practice and ethics for navigating the post-modern eras.
Barnes & Noble Book Blog
Robert Belenky grew up in New York’s Greenwich Village during the 1930s and 1940s. Prior to his birth, Belenky’s father was a consultant to the Soviet Jewish land settlement movement and his mother had been a preschool teacher trained in the Dewey tradition. Belenky attended several progressive schools including the Bank Street Kindergarten, the City and Country School, the Little Red Schoolhouse and the Elisabeth Irwin High School.
Belenky has spent his entire adult life working with children in one capacity or another. As a teenager he took summer jobs as a camp counselor. Belenky received his Master’s degree from Cornell University. He later received his doctorate in Clinical Psychology from Teacher’s College at Columbia University and did a postdoctoral fellowship in Child and Family Psychology at the Harvard Medical Center's Judge Baker Child Guidance Clinic. Belenky has taught at Harvard, Boston University and Concordia University and was the founding dean of Goddard College’s Master of Arts in Individualized Studies degree program.
His private practice included fourteen years in his Vermont wilderness setting, The Clearing. Since retirement in 1995, he makes annual visits to Haiti and Russia as part of an informal research project on institutional and community care of children who grow up in the absence of family support.
Robert Belenky is married to Mary Field Belenky, a developmental psychologist. Mary taught at Goddard and is the co-author of the book Women's Ways Of Knowing: The Development Of Self, Voice, And Mind. Robert and Mary have two children, Alice Armen and Michael Belenky, and five grandchildren, Sofia, Max, Ella, Oliver, and Simon.
Residency Sites: Plainfield, VT
I am the first of the first generation of North Americans on my mother's side of a large extended family. I love language, poetry and story, and understand, from my earliest home, the power of narrative, the centrality of culture, the magic of art, to shape our imagination of self and social possibility.
My life's work has been a deep engagement with the wonders of learning and community building, within a "griot" or bard tradition. As an artist and a scholar - a poet, a writer, a storyteller, a teacher, a cultural historian, a librarian, a researcher, an animator - my work has been, at heart, an interdisciplinary course of study in how we might name ourselves, dance, sing, sculpt, recreate ourselves, into a just world.
My "field" is feminist, "Africanist", humanist, and generalist. I've tutored neighborhood kids and assisted in coordinating international cultural education projects, written about the hermeneutics of "black" vernacular performance and struggled to find the form for teaching and learning in our most embattled social locations. I currently serve as a teaching artist, assistant professor and resident storyteller on the faculties of Eugene Lang College, and The Hayground School. I remain a student of language, poetics and ancient performance texts. I received a National Endowment for the Humanities fellowship for my work in African American history and the Griot tradition.
I've done undergraduate work at Sarah Lawrence College; graduate work in librarianship and women studies at St. John's University and The City University of New York respectively; doctoral work in African American history at The Graduate Center; and lots of learning and teaching in public libraries and schools. I've learned from my "students" that each place of pedagogy is a location for magic and metamorphosis. This keeps me going, writing, imgaging, searching.
My publications include the books Khoisan Tale and Bridge Suite: Narrative Poems Based on the Lives of African and African American Women in the Early History of These Black Nations. (Storm Imprints, 1998); the forthcoming novella "Medea"; We Stand Our Ground: Three Women, Their Poetry, Their Politics, a collaborative book with Kimiko Hahn and Susan Sherman, (NY:Ikon Press, 1988) and co-editing Art Against Apartheid: Works for Freedom. (NY:Ikon Press, 1986).
MLS in Library Science, St. John's University; MA in Women's Studies, The Graduate School and University Center, City University; BA in Liberal Arts, Sarah Lawrence College.
Richard Sontag (1934-2009) was a long time trustee and friend of Goddard College. Richard graduated from North Carolina State and served for eight years as an elected official in Stamford, Connecticut. He was the founder, chairman and CEO of Liberty National Bank in Stamford, and an originator of the Bank of Westport and the Bank of Greenwich. He and his wife, Lois Weinstein Sontag, (RUP ’47) were married for 58 years. Richard alternated terms with his wife for numerous years, so that in general each replaced the other on the Board. Richard Sontag supported the college for 50 years because of his strong belief that Goddard provided “a light and a door into the future of education.” He was named the first Board Member Emeritus in 2006 for his long service to Goddard's financial and educational development.
Residency Sites: Plainfield, VT
When an editor approached me about writing a history of the telescope, I immediately declined. I didn’t have a science background; I’d never written about science. But then the editor said, “Think of it as an essay,” and I haven’t looked back.
What changed my mind was the realization that as a writer, I should be able to approach this topic, however daunting, just as I would any other. And that lesson is at the heart of what I try to teach students of Creative Non-Fiction: the element of narrative. Facts are facts, but the tools of fiction—characters, conflict, dialogue, action, setting—can transform useful information into compelling tales. My educational and professional background is in both fields—journalism and fiction. By combining my experience in conducting research with my experience in constructing narratives, I try to make even a somewhat esoteric subject accessible to a general readership.
In my most recent book—The Four Percent Universe: Dark Matter, Dark Energy, and the Race to Discover the Rest of Reality (Houghton Mifflin Harcourt, 2011)—I tell the behind-the-scenes story of the discovery that won the 2011 Nobel Prize in Physics, complete with bitter rivalries and fruitful collaborations, blind alleys and eureka moments. The science is the accelerating expansion of the universe, but the scientists are what drive the narrative.
My two previous books also cover the history and philosophy of science for non-specialist readers, Seeing and Believing: How the Telescope Opened Our Eyes and Minds to the Heavens (Viking, 1998), and The Invisible Century: Einstein, Freud and the Search for Hidden Universes (Viking, 2004). I'm also the co-author, with Temple Grandin, of The Autistic Brain: Thinking Along the Spectrum, to be published by Houghton Mifflin Harcourt in the spring of 2013. Although I have continued to write about non-scientific topics (and have published short stories through the PEN Syndicated Fiction Project and in Ploughshares), my primary focus has become the intersection of science and culture. My essays and articles on that subject have appeared in various sections of The New York Times as well as in Smithsonian, Discover, Natural History, Esquire, Outside, Seed, and many other publications, and have aired on National Public Radio.
My book The 4% Universe received the 2012 Science Communication Award from the American Institute of Physics and was longlisted for the Royal Society’s Science Books Prize.
I have received a 2008 Fellowship in Science Writing from the Guggenheim Foundation, a 2007 Fellowship in Nonfiction Literature from the New York Foundation for the Arts, and an Antarctic Artists and Writers Program grant from the National Science Foundation. My books have been translated into sixteen languages.
Throughout this surprising (to me) turn my writing has taken, I have always asked myself two questions that I also encourage students to ask of themselves:
1. Have I explained this topic in such a way that I would have understood it before I started my research?
2. Have I found a way to illuminate the human drama that is at the heart of every narrative, whether fact or fiction? If the answers are yes, then maybe I am -- we are -- heading in the right direction.
MFA in Fiction, University of Iowa; BS in Journalism, Northwestern University.
Jackson graduated from Goddard's RUP, or Residential Undergraduate Program, with a BA in 1978. For 20 years, Jackson worked at the Smithsonian as an archivist. Jackson is also a former Goddard faculty. He recently moved to Vermont to become a high school English teacher in Burlington. Now, Reuben Jackson is the new voice of jazz on Vermont Public Radio airwaves!
Residency Sites: Plainfield, VT
Teaching dramatic writing isn’t like instructing someone how to ride a bicycle or mend a broken pipe. Writing is unique and idiosyncratic, a deeply personal form of communication. It’s informed by not only the past and present, but by one’s identity, imagination, values, aesthetics, politics, sense of humor, appreciation of tragedy. At the same time, good writing demands not just aptitude; it requires intense discipline, resilience, openness, and patience. It takes bravery, a clear eye, and heart. As a teacher, I try to encourage personal expression while reinforcing the discipline of craft. I help students identify and clarify their voice and the story they’re trying to tell. At the same time, I teach them the basic tools of dramatic writing and how to use (or perhaps even subvert) them: structure, plot, character, action. How do you shape a play, anyway? Or a screenplay? How do you maximize the potential of the stage or screen? Most of all, I try to empower all my students to open up to the vast creative potential within them, and to help them find its best expression.
As a playwright, I wrote the stage adaptation of Amy Tan’s The Joy Luck Club (Dramatists Play Service), The Arrangement, Where It Came From, Open Spaces, and the book to the musicals Merlin's Apprentice (with Stephen Cole & Matthew Ward) and Allison Under the Stars (with Zina Goldrich and Marcie Heisler). My one-acts include Memento Mori (Smith & Krauss), Pandora, Dreamtime for Alice (Farrar Strauss, Dramatists Play Service), Rapid Eye Movement, Seventh Word Four Syllables, and Death and the Maiden. My one-act play Guts was produced as an independent film, which aired on PBS. My plays have been produced at NY’s Ensemble Studio Theatre, Pan Asian Repertory and Ohio Theatre, and nationally, at the Long Wharf Theatre, LA’s East/West Players and Stella Adler, Palo Alto’s TheatreWorks, Denver’s Walden Family Playhouse, Honolulu’s Kumu Kahua Playhouse, and others. I attended the 2000 Eugene O’Neill National Playwrights Conference and won a Drama Logue Award for Outstanding New Play for Open Spaces.
My nonfiction book Flow: the Cultural Story of Menstruation, co-written with graphic designer Elissa Stein, was published by St. Martins Griffin in November 2009. In 2010, two graphic novels that I wrote with my partner, playwright Laurence Klavan, were published by First Second Books: City of Spies (artwork by Pascal Dizin) was named One of the Best Books of the Year for Children by Scripps Howard News Service; and Brain Camp (artwork by Faith Erin Hicks) was named One of the Best Graphic Novels for Teens by the American Library Association.
I’ve also written extensively for television. I was nominated five times for the Emmy and four times for the Writers Guild award for best writing, all in the children’s category. In adult nonfiction, I won a WGA award in 1996 for Best Documentary for PBS’ Paving the Way. Other documentaries include Icebound, AMC’s Imaginary Witness: Hollywood and the Holocaust, WLIW’s Through My Eyes, and the 3-part PBS series, The Meaning of Food.
I live in New York City and am a member of the Writers Guild of America East, the Writers Guild of Canada, ASCAP, UAW 2322, and Ensemble Studio Theatre.
BA in English and Theatre, Wesleyan University.
Charles R. Modica, JD, is the Chancellor and Chair of the Board of Trustees of St. George's University, a University he co-founded in 1977 in Grenada, West Indies as an independent School of Medicine. In the years since, Dr. Modica guided its development into an international center of higher education. The University offers degrees in medicine, veterinary medicine, public health, business, and arts and sciences, and boasts a diverse community of students, faculty, alumni and staff from more than 140 countries. To date, more than 12,000 professionals have graduated from St. George's University. As Ambassador-at-Large for Grenada, Dr. Modica has worked to promote the country's infrastructure in health, industry, business, and tourism.
Dr. Modica has served as a member and Chair of the Board of Trustees of Barry University, Miami Shores; a member and Chair of the Board of Trustees of the Rosarian Academy, West Palm Beach; and a member of the Board of Trustees of WXEL Public Radio and Television.
Dr. Modica has a strong sense of civic responsibility and currently serves the Grenada Heart Foundation, the Vincentian Children's Heart Fund, and Co-Chair of the Fund for the Orphans and Elderly of Grenada. He was a member of the Board of Directors of the Caribbean Medical Charities from 1981 until 1991 and the Co-Chair of the West Indian Immunization Project from 1978 to 1981.
The Chancellor has been recognized for his work and has been the recipient of several awards and honors, including an Honorary Doctorate of Civil Law from Northumbria University, Newcastle, UK in 2009, an Honorary Doctor of Laws from Barry University School of Law, Miami Shores in 2000, the Barry University Society of Founders Award in 1986; the Medal of Merit – City of Miami in 1980; Member of the Law Review of Delaware Law School 1974-1975; the Congress of Italian American Organizations Man of the Year in 1989; the Health Watch Information and Promotion Service in 1993; and the “Making the Dream Possible” Award from the St. George’s University School of Medicine Alumni Association in 1997.
Goddard not only deepened my creativity, it prepared me academically for my doctoral program. My focus was on short story and novel, but culminated in the writing of my memoir. I had two advisors; they were quite different, but held their own strengths. As different as they were, they both brought great skill to my program. The residencies were a time of fellowship, networking and intellectual conversation; they have been unparalleled in my life. I am a one-woman Goddard spokesperson. Where I find myself is where I find myself talking about Goddard. If you'd like to talk about Goddard, call me!
Residency Sites: Port Townsend, WA
Whether creating an interdisciplinary performance to challenge stage conventions, photographing and writing about spirit mediums in northern Thailand, or presenting a lecture-demonstration on my combined Zen and Butoh training methodology, I live life as a dialectic process of discovery. As a highly analytical person who loves to dissect details, form strategies, and act with clarity, I also do it all in the service of realizing the ineffable. I live for unearthing and asking questions that are impossible to answer. As an artist, curator, and educator, I want to know as much as possible about a subject to the point where my collaborators and I reach a level of fully embodying its life essence. I want to discover beyond what can be directly captured in words, movements, images, or sounds, but which all of these may yet be utilized to somehow express.
When people ask me why I’m an artist, I say that it’s the best way I know how to be a part of the world. On the surface, my work may seem to be about everything from pop culture to national stereotypes to mass media effects on identity and driven equally by postmodernism, classical archetypes, and absurd humor. However, my underlying motivations derive from a humanist belief in the fundamental priorities of compassion, intelligence, utility, and inspiration. Everyday I am forced to ask myself: How will my work stimulate, benefit, and motivate others?
My artistic process is also dialectic, between myself and my audience, i.e. self and other. I make art for others, not myself. I write, direct, choreograph, photograph, film, design, dance, act, and display, often simultaneously. As an interdisciplinary artist, doing all of these things means doing none of them. It means being alive, open to possibilities in every moment and using any means necessary to manifest an authentic connection to them, as the most “real” things in life are also the most ephemeral and precious.
The core of my educational philosophy is dialogue, engagement, and empowerment. In contrast to traditional pedagogy, dialogic teaching (i.e. listening, exchanging, and facilitating) is inherently inclusive, multi-perspectival, mutable with shifting realities and relations, and democratic. Dialogue implies holistic interaction, opens a framework rooted in self-awareness, and leads ideally to shared knowledge of meaningful priorities, which then determine students’ growth and appropriate goals. Engagement is involvement with the issues and challenges in one’s life and the lives of others and the wellspring of all action that actually considers social truth. Whether exploring one’s ideas alone or with studio collaborators or community participants, it tests the student’s priorities and goals in terms of social relevance, thus transforming and infusing them with communal potential. Empowerment is developing the subsequent ability to take action and effect change as the ultimate test of a student’s relationship with society. Is what one has to say, show, or embody have value or agency in a social setting, and for whom, how, and why?
I also want my interaction with students to be full of clarity and compassion. I love to give encouragement, placing primacy on critical thought and awareness of self and other, and asking LOTS of questions! In the end, I see my job as being a valuable “co-pilot” who cares, and what matters to me most is whether or not students know a little more about themselves and other people, what they might be capable of, and what some fundamental and relevant questions are for their creative processes and lives on this planet.
Artist website: http://www.michaelsakamoto.com
MFA in Dance, UCLA; BA in Communication Studies, UCLA.
Residency Sites: Plainfield, VT
I have twenty+ years experience working as a community and regional planner for nonprofits; community-based organizations, social enterprises and government agencies. My work emphasizes social, economic, ecological and racial justice advocacy, cultural preservation, poverty alleviation, community engagement, localism, community asset development and grassroots, community based planning. I have significant experience developing social enterprises and worker owned and cooperative businesses, regional approaches to cultural heritage development, sustainable agriculture, land and natural resource management and designing and developing specialized business incubation services including commercial kitchens, business incubators, public markets, farmers markets, cultural festivals and sector-based approaches to product, market and workforce development.
My broad professional and personal goal is to work with people to create vibrant, exciting, livable, sustainable, socially justice communities that contribute to the well being and evolution of all living things! I am very interested in using design innovation to engage citizens in multi-disciplinary community planning and social change activities, especially youth.
Progressive Community and Regional Planning, Design Innovation, Social Enterprise Development, Worker Ownership, Business Finance and Planning, Leadership Development, Community Economic Development Finance, Nonprofit Organizational Development, Teaching, Community Organizing
Educational Background: MA in Community and Regional Planning with a concentration in Rural Development, University of New Mexico; BA in Politics and English, New York University.
Residency Sites: Plainfield, VT
Born in shadow of the Shoah, the stories about home repeatedly told within the culture of my youth emphasized the losses incurred during the Polish pogroms and the forced displacements of the Soviet Gulag era. In attempting to make sense of these intergenerational narratives, I have come to identify three separate yet interconnected loci where home is imagined and experienced: within the body, amidst sentient relationships, and in association with place. At the center of this inquiry into the ontology of home is a series of reflections about home’s properties, associations and manifestations (or lack thereof) in the political, cultural, emotional, and embodied realms.
Once the fracture of home becomes part of individual and communal history, how can a new connection to dwelling be cultivated and affirmed in wellness? This question is both pressing for me personally and I believe central to the ethos of the 21st century: My history is not very different from many peoples’ histories around the world whose internal sense of home has been fragmented and whose houses have been destroyed through domicide. To effectively catalyze and support wellness relative to forced dislocation is a question of some urgency as more than 22 million people are living as refugees or internally displaced persons.
As a Social Sciences and Humanities Research Council of Canada (SSHRC) funded Humanities PhD Candidate at Concordia University’s Centre for Interdisciplinary Studies in Society and Culture my project entitled Radical Beauty for Troubled Times: the (un)making of home examines the role that beauty plays in the process of homemaking in the aftermath of forced displacement. More specifically, this work entails a critical reflection about the ambivalent role of beauty in identity politics: how beauty, while vital in sustaining communities, can also be used to perpetuate fixed identity reflexes stemming from the need to survive dislocation. Working with a variety of research/creation methodologies – including live art community performance and oral history – my analysis involved an examination of how the narratives of home created by cultural projects such as the “Jewish Home Beautiful” community pageant (written in the 1930s and performed ever since in Jewish congregations across the United States and Canada) have shaped the settling at home of Jews in the “Promised Land” and the ways in which this settling has led to the uprooting of the Palestinian people and the destruction of their way of life.
Along with Johanne Chagnon and Louise Lachapelle, I co-edited Affirming Collaboration: Community and Humanist Activist Art in Québec and Elsewhere (Engrenage Noir / LEVIER, LUX Éditeur and Detselig Enterprises Ltd., 2011). I have co-directed LEVIER from its inception in 2001 through its closure in 2012. For the past ten years LEVIER has been funding community art and activist art collaborations while developing pedagogical material aimed at supporting socio-politically engaged art practitioners and the communities with whom they collaborate while moving the field further with respect to critical thinking and theoretical analysis about this practice.
Other recent publications include: “Close Proximity” (in Performing Ethos: An International Journal of Ethics in Theatre and Performance, 2010); “Performing Beauty, Practicing Home: Collaborative Live Art and the Transformation of Displacement” (in Creative Arts in Interdisciplinary Practice, Inquiries for Hope and Change, 2010); “Performing Aesthetics, Performing Politics: ‘The Jewish Home Beautiful’ and the Re-shaping of the Jewish Exile Narrative” (in Crossings: Journal of Migration and Culture, 2010); “The Sensuous is Political: Live Art Performance and the Palestinian Resistance Movement” (in Somatic Engagement, 2011); and “Once a Russian, Always a Jew: (Auto)biographical Storytelling and the Legacy of Dislocation” (in Storytelling, Self, Society: An Interdisciplinary Journal of Storytelling Studies, 2012); “Too Many Aboriginal Women ‘At Home’ in Canadian Prisons” (in À Bâbord, 2012); and “Co-Activating Beauty, Co-Narrating Home: Dialogic Live Art Performance and the Practice of Inclusiveness” (in Creating Together: Participatory, Community-Based and Collaborative Arts Practices and Scholarship Across Canada, forthcoming).
My involvement with the Montreal Urban Aboriginal Community Strategy NETWORK began in 2008 and has continued ever since. Currently I am a member of the NETWORK’s Steering Committee, the ART ∙ CULTURE Committee, and the Ad hoc Committee working to establish an Aboriginal community, cultural, art venue in Montreal.
In April 2011, I assumed a two-year appointment as a member of the Visual Arts, Media Arts and Arts and Crafts Advisory Board for the Conseil des arts et des lettres du Québec.
In addition to the SSHRC Graduate Fellowship, I have been the recipient of grants and awards from Goddard College’s Faculty Development Fund; the Wetstein Fellowship, Concordia University Institute for Canadian Jewish Studies; The Franklin Furnace Performance Art Fund; the Conseil des arts et des lettres du Québec; and the Canada Council for the Arts.
Visit My Website: www.devoraneumark.com
PhD in Humanities (Fine Arts), Concordia University (Montreal); MFA equivalency confirmed by Goddard College, August 2010; BFA with Distinction, Concordia University (Montreal).
Residency Sites: Plainfield, VT
I was born a teacher and a student and have come to know organically that learning is an act of liberation and teaching an act of love. I believe learning is both emancipatory and subversive. Since 1987 my work as a clinician, educator, consultant, researcher and social justice activist has centered on issues that illuminate the impact of the intersection of gender, race and class and sexual orientation on the individual, on organizations, on communities and on academic institutions. My lived experience as a woman of color, a multicultural feminist educator and social justice activist informs my conviction that education is the practice of freedom. In this paradigm both teacher/learner and learner/ teacher are social change agents, digesting and interrogating existing bodies of knowledge while making new meaning, challenging hegemonic knowledge production and contributing to a more just world by translating thought into progressive action. This requires an engaged and transformative pedagogy that is rooted in relationship, authenticity, risk-taking, curiosity, courage, dialogue, disciplinary border-crossing, intellectual rigor, intentionality, emotional connectivity and critical reflection. I believe the relationship between student and teacher is central to the process of learning—I am as influenced by my students as they are influenced by me. Teaching allows me to continue to articulate and explore the complexities of change and identity, while learning from and marveling at the intricate lives of my students. Who are you? What do you believe? Why do you believe what you believe? How do the multiplicities of your identity impact your ability to be a learner, a friend, a social change agent? How have you been co-opted? How do you learn and change? How are you silenced or do you silence others? How do you resist? These are the questions I continue to ask my students and myself. I am a twenty year activist in the ending violence against women movement and a principal in a consultancy supporting social change organizations in program design, implementation, evaluation and training. I also am a licensed psychotherapist, and have extensive experience working in community based mental health organizations. Since 1994 I have been a faculty member in the Masters in Clinical Psychology Program at Antioch University, teaching courses including Multicultural Psychology and Feminist Theory. Finally my personal and professional foci remain rooted in my deep conviction that as individuals and as a global community we must seek wholeness through deconstruction, seek understanding through crisis, seek completion through contact, and seek justice through action...peace out.
MA in Clinical Psychology, Antioch University; BA in Economics, Smith College.
Residency Sites: Plainfield, VT
Like a number of women writers, I haven’t followed a conventional academic path. For ten years, I worked in New York at AMS Press while I completed my BA and MFA Degrees at Goddard. Afterwards, I spent several years at Harvard Magazine, writing my first book of poems (That Mulberry Wine, Wesleyan) while I acted first as Fulfillment Manager (a tough title to live down) and then as a member of the editorial staff. Following my first teaching job, as the writer-in-residence at Sweet Briar College (VA), I earned a PhD in Creative Writing and Literature from the University of Utah. I’ve taught in various writing programs, undergraduate and graduate: Old Dominion University, Ohio University, University of South Carolina, Harvard, and Lesley University’s low-residency MFA Program in Creative Writing. The Mark of Flesh, my second book (Norton), entered me into a conversation about poetry that still absorbs me: What’s the role of the writer in the world? Why are many women writers still second-class citizens in the literary world? How can music and metaphor instigate transformation in the writer and the reader?
Poetry, in my experience, emerges from the deepest levels of the psyche. It is only roughly occasional. It’s almost a truism that language can be transformative and that transformation loves language. Though poets are moving away from the idea of a stable first-person, any practitioner of self-reflection knows that the stable self is chimerical. At about 3:00 p.m. on a long workday it’s amusing to remember this.
Work in the world can be beautiful. A third book of poems, Visitor at the Gate, currently circulating, has become a labor of its own. A new book, still in imagination, seems to want the hybrid—a mix of poetry and prose first experimented with in Visitor. The poems have earned prizes and fellowships: an Academy of American Poets Award; the Grolier Poetry Prize; a PEN Discovery Award; a fellowship in poetry to Breadloaf; a Pushcart Prize; and multiple stints at the MacDowell Colony, Yaddo, and the Virginia Center for Creative Arts. Individual poems have found homes in Blackbird, Boulevard, Poetry Daily, Georgia Review, Memoir/And, Triquarterly, Virginia Quarterly Review, Gettysburg Review, Seneca Review, and Harvard Review, among others.
Labor of any kind speaks to us of time, of money, of values, of where in the moment we are and what we must do. To be the director of our BFA Program invites labor to speak to me in a new way. I gratefully offer the skills that I’ve learned through many decades of writing, teaching, administering, and living. Together, we’re enabled by genres, theory, cultures, eras, craft, and imagination. As the fifteenth century Indian poet, Kabir, has said: “Listen carefully,/Neither the Vedas/Nor the Qur’an/Will teach you this:/Put the bit in its mouth,/The saddle on its back,/Your foot in the stirrup,/And ride your wild runaway mind./All the way to heaven.”
PhD in Creative Writing and Literature, University of Utah MFA in Poetry, Goddard College BA in Literature, Goddard College
Residency Sites: Plainfield, VT
Writing is an act of sustained attention to the things that define what it means to be human. To that end, writing reminds me my feet are in contact with the ground and that my brain is constantly involved in what scientists call “on-gong interpretive activity.” Commingle perception, imagination, memory and the mind has the ability to leap from the words "ground" to "coffee" to the corner cafe, which (in keeping with the proliferation of televisions in public places) recently mounted a flat screen behind the counter—and last week, a TV at the gas pump caught my eye, and as it blinked and whistled an upbeat advertisement, I vividly remember thinking, is this dangerous? Should we be preoccupied while handling flammable liquids? How frequently do gas stations catch on fire, anyway?......
And so the mind goes, spooling forward, reflecting, refracting. It is through writing I find order and pattern between my internal and external world. I primarily write poetry, but my interests are quickly expanding as I become more and more captivated by the dynamic possibilities of writing non-fiction.
My enthusiasm for non-fiction was triggered by my discovery of current neuropsychology texts that utilize the craft techniques of creative writers. The idea that we can elevate factual research, ideas and lived experience to the level of artful discourse is quite magnificent. And while on the topic of science and the brain...the literature suggests that the self is simply a collection of thoughts and ideas, a “self-purported narrative.”—What does this mean for the writer who records, who invents? And what happens when the writer is conscious of both acts of creation?
Writing is serious business that also requires serious play. Experimentation with subjects, forms and voices are essential practices. There are a million ways to structure a poem, story or essay, and sometimes “the rules” of each genre may need to bend or barrow from other genres. I want to learn from the fiction and non-fiction writer techniques that might help me write better poems. What can the writer of prose learn about rhythm and image from the poet? What’s a prose poem, a lyric essay, that thing that doesn’t even have a name yet?! In general, having a background in the visual arts, (as an undergrad I studied painting, printmaking and design) I am deeply interested in how disciplines can and do inform one another, and am always open to “cross-pollination.”
Robert Penn Warren said, “A poem is a way of asking a question, rather than answering one.” I believe wholeheartedly in this statement and think all good art begins with sincere inquiry; I would go so far as to say curiosity is the imagination’s foremost catalyst.
My goal as a teacher is to help students locate their own passions and questions about the world. Because I believe earnest discovery requires discipline, a sense of humor, humility and a willingness to see something from every possible angle, I encourage students to push themselves into unknown territory, and to stay there long enough to honor the mind’s natural impulses to seek connectivity.
Every person navigates a different creative path through a forest that conceals difficulties and profound delights. I view my role not as “guide” but as someone who is there at the junctions to help students decide the direction they want to go. I hope to inspire and support, but I also feel a responsibility to equip students with the practical tools necessary to excel at their craft, so they may thrive on their own.
My formal education includes a BFA in visual arts from the University of Michigan and an MFA in poetry from the University of Arizona. I have also traveled abroad extensively, the most significant trip being a year-long, solo adventure around the world. I consider such experiences to be as valuable as the many hours I’ve spent in seminars and libraries, or behind a computer or easel.
Additional areas of study include contemplative arts, eco-criticism, outdoor education, neuropsychology, American comedy and satire, Eastern philosophy, ekphrasis and gender and feminist studies. I have taught English and creative writing workshops for the University of Michigan’s New England Literature Program, Stanford University’s Creative Writing Program and, currently, I teach poetry and non-fiction for Stanford’s Online Writer’s Studio. I feel fortunate to have received a fellowship from the University of Arizona’s Poetry Center to teach as a poet-in-the-schools; other awards include a Wallace Stegner fellowship, and scholarships from the Squaw Valley Community of Writers and Bread Loaf Writers’ Conferences, the Hall Farm Center and the Vermont Studio Center. My work has appeared in Court Green, DIAGRAM, Gulf Coast, FIELD, Iowa Review, Pool, Prairie Schooner, Threepenny Review, Third Coast and elsewhere.
MFA in Poetry, University of Arizona; BFA in Visual Arts, University of Michigan.
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I see vivid connections between the artist and the schools. I see creative intelligence as essential for learning across the curriculum. I have been an art teacher, licensed in K12, for my 32 years now past college graduation. I have taught in private schools, public school systems, museum schools, co-operative artist communities and in my own studio I ran summer camps for children, all ages. Artistic intelligence for me embodies who I am and how I hope my Goddard students reflect and develop into professional teachers. Generally, I work with our Goddard students who wish to become art teachers, however, I do advise others who look to integrate learning within the arts into their plans for teaching. I see teaching as a solid profession where compassion, creativity, sensible values and work ethics merge. The best teachers are those who take time to develop their inner lives and reflect upon their passion. Teachers are called to teach yet the skills to teach can be developed over time, with patience, communication and mentoring. My work in Teacher Licensure allows me to cross lines of structured learning with reflective and individualized student journeys. I found my way to Goddard in 2002. I came first as a student in Education. I knew that my journey was destiny here in this small central rural area of Vermont. It held promises for me as an educator and artist. I left Ohio soon after I was hired on our faculty in 2006. These beautiful rolling hills of Vermont offered a perspective on self, family and art that I truly needed. It was refuge. There was hope in this landscape. I love my teaching and my connection to art and education and helping my students to become teachers. It was a role I had always imagined I could do but it took Goddard to help me believe in myself. Now I live in Cabot, Vermont, not far from the college. I have an old farmhouse, always in transition stages and I raise my five children in a flavor of progressive learning, values and constant change. We care for four cats who do their best work in the barn and a black lab, Dexter, who is a friend to any and all who visit. In addition to my art and Goddard teaching, I teach yoga in a nearby town, and look to my yoga practice on and off the mat to guide my mindful attendance in life. My home is my canvas yet I also paint on stretched canvas, wood, walls and any surfaces that allow me self-expression. I begin with images of the land, the mountains, the skies that go on forever. Then I take those images and distort them with my palette knives. I begin to blend and scrape the paint, layer upon layer. I blend and intersect colors until gradually they lose a singular definition and adopt new meaning in color and space on the canvas. Certain shapes emerge. Other shapes are unidentifiable. The painting screams of a timeless loss of form. I encourage my Goddard students to share their art with others and me and I demand that my students, who are becoming art teachers, never forget their own artistic practice. That gift of creative expression, in whatever form it survives, will give them the perspective to work in any setting with students, in a process-based or discipline based art curriculum. Goddard College will change you if you chose to come here. It has changed me and made me find stronger, more compassionate and courageous paths as an educator. It is about taking risks and going deeper inside your capacities than you were ever asked to reach. Your work here will position you as a teacher who changes the way others think about themselves and learning on local as well as global levels.
JD in Law, University of Toledo; MFA in Interdisciplinary Arts, Goddard College; MSW in Social Work, University of Michigan; MAE in Art Education, Rhode Island School of Design; BA in Art, College of Mount St Joseph.
Siobhan’s bachelor program focused on ear acupuncture as an addiction treatment. She’s since used it to help 9/11 survivors, and wounded veterans.
When I first came to Goddard, I had an idea to open a treatment program for substance abusers—but who knew what was going to happen? On September 11, 2001, the hospital where I worked was just blocks from Ground Zero. I started a clinic that provided 40,000 acupuncture treatments to rescue workers and survivors. People said, This helped so much.
Goddard gave me confidence to proceed with my passion and my goals of bringing a component to my hospital that was entirely new.
When I went back for my Master’s, I just immersed myself in the environment here. Goddard is really on the vanguard of creativity; it’s different from anywhere else I’ve ever been. My advisor and others were superb, and the learning experience will be with me for the rest of my life.
I’m doing some unusual stuff; I’m really on the edge. It’s a little difficult sometimes, but I still have Goddard with me, to keep me going. The spirit of Goddard is, “Follow your true inner belief and don’t let go of it.”
Goddard is like the wind in my sails.
Richard Schramm is a retired faculty advisor from the MA in Sustainable Business & Communities (SBC) program. He retired from Goddard College in February of 2013.
Below is the heartfelt words of tribute and farewell from Program Director Ann Driscoll:
Richard holds a PhD and MS in Economics from Carnegie Mellon University, a BME in Mechanical Engineering from Rensselaer Polytechnic Institute and an AB in Philosophy from Dartmouth College. He is a gifted educator who has shared an extraordinary wealth of talent, experience and insight with our Goddard community. In all, Richard devoted more than 50 years of his life to teaching, community development and service.
Richard initially taught at Goddard from 1991-1998, first as Associate Faculty in the off-campus program and then as a Core Faculty member in what were then known as the on-campus and off-campus (limited residency) programs. Richard was a faculty advisor for students with interests in economics, finance, organization, leadership, business development, local and cooperative business ownership and community economic development. Notably, during this time Richard was also instrumental in the conceptualization and implementation of the Goddard College Business Institute, which he directed from 1993-1995. The intention of this educational innovation was to provide training for leaders from community development focused organizations and socially and environmentally responsible businesses.
In addition to 12 years at Goddard, some of the highlights of Richard’s teaching career have included professorial posts for 12 years at Cornell University in the City & Regional Planning Department as well as the Graduate School of Business & Public Administration, 10 years at the University of Vermont in the Department of Community Development & Applied Economics, 5 years at the Massachusetts Institute of Technology in the Department of Urban Studies & Planning, 8 years at Tufts University in the Department of Urban & Environmental Policy (where he founded and directed the Tufts University Management and Community Development Institute), and 2 years at Columbia University in the Graduate School of Business.
Richard has also taught community economics, finance and development to community development professionals in training programs as varied as the Neighborhood Reinvestment Training Institute, MS Foundation for Women and Community Development Institute, and the New School for Democratic Management.
During the last 10 years, Richard’s focus turned toward sustainability. He designed and taught the Sustainable Community Development core course at UVM’s Department of Community Development & Applied Economics, developed and taught courses designed to strengthen the local food system and connect farms, food and schools with the merits of going local, and he currently serves on the Advisory Board of Valley Food and Farm, an organization that links local farmers and local consumers. His interest in the impact of climate change on the environment, combined with his substantial experience in community economic development, was a wonderful prelude to his return to Goddard. After a hiatus to pursue other interests, in the spring of 2008 Richard joined the SBC (then referred to as the MA in Socially Responsible Business and Sustainable Communities Program) as a member of the faculty.
Richard’s dedication to the creation of socially responsible and environmentally sustainable communities and organizations is very evident through his myriad efforts to be of service to others. Examples of this are his committee and board roles with organizations as diverse as the Valley Food & Farm-Vital Communities Initiative, Hanover (VT) Consumer Cooperative Society, Vermont Children’s Forum, Economic Advisory Committee for the National Wildlife Federation, National Congress for Community Economic Development (Washington, D.C.), Advisory Committee on Community Economic Development for the John D. and Catherine T. MacArthur Foundation, Commission on Employee Involvement & Ownership (Commonwealth of Massachusetts), Committee on Women’s Economic Development for the Irvine Foundation, the Federation for Economic Democracy (Washington, D.C.) and his local Unitarian Universalist community.
In addition to a lengthy publication record, from the mid-1970’s to the present Richard has generously shared his know-how about the arenas of community economics and development in an array of consultancies to public, private, government, community and higher education institutions.
Richard has been a beloved member of the SBC community. He arrived at a formative time when the philosophical underpinnings of the program were being shaped and the culture of the learning community was being created. Throughout his tenure with the SBC Richard has been a highly sought after faculty advisor. Both students and colleagues have expressed great gratitude not only for his tremendous well of theoretical knowledge and his familiarity with student centered and democratic education but for his kindness, generous spirit, wit (particularly his jokes at cabaret), wisdom, and for his robust enthusiasm for learning and life.
All of Richard’s contributions to and efforts on behalf of the SBC and the College are greatly appreciated. The lights of joy, delight and exemplary teaching that he brought to our community will be dearly missed. We wish Richard well as he embarks on this new chapter of his life.
My main interests have to do with helping students rigorously challenge popular assumptions about education by employing thoughtful methods of research and sound reasoning. Politically I am committed to social justice education based on a class analysis and working towards evidence based methods. I have been a faculty member at Goddard College since 1990 and a Liberal Studies professor in Toronto. I am also board president the John Howard Society Toronto, a non-profit organization committed to social justice by helping men in conflict with the law.
PhD in Education, The Union Institute; MA in Psychology, Goddard College; BA in Education and Psychology,Goddard College.
John W. Hennessey Jr. is Jones Professor of Management and Third Century Professor Emeritus at the Tuck School of Business, Dartmouth College, where he was Associate Dean and then Dean from 1962 to 1976. He co-founded Dartmouth’s Ethics Institute in 1981 and taught business ethics to undergraduates, as well as MBA students until his 1987 retirement.
He served for three years as the first Provost of the University of Vermont and (in 1990) as its Interim President. He has served on many corporate and nonprofit governing boards, many times as Chair. Notably, he served twice as Chair of the Educational Testing Service and twice as Chair of the Dartmouth-Hitchcock Medical Center.
He currently sits on the Boards of Americans for Campaign Reform and Patient Choices-Vermont, as well as several committees of Kendal at Hanover, a continuing care retirement community, where he was Board Chair in 1998-2001. Dr. Hennessey's first wife, Jean Marie Lande, an international environmental commissioner and a leading New Hampshire Democratic strategist, died in 2004, leaving their two children and three grandchildren. In 2006, Dr. Hennessey married Madeleine May Kunin, former Governor of Vermont, Deputy Secretary of Education and Ambassador to Switzerland during the Clinton administration; the couple lives in Burlington, Vermont.
For more information: http://jhennessey.org
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Residency Sites: Plainfield, VT
Caltha Crowe is a Responsive Classroom consulting teacher and a member of Northeast Foundation for Children's Board of Directors. She is also the author of Solving Thorny Behavior Problems (2009) and Sammy and His Beahvior Problems (2010). Her newest book, How to Bullyproof Your Classroom, addresses an important and timely topic. Crowe graduated with a Master of Arts in early childhood education from Goddard College's Adult Degree Program (ADP) in 1974.
BA, Smith College; MA in early childhood education, Goddard College; MEd in educational leadership, Bank Street College of Education.
Residency Sites: Plainfield, VT
I value art for its ability to create a kind of knowledge. Art allows us to look at something in a new way. I do not set out to represent what is already known, but to look at what is there through different lenses. Art can tell stories that otherwise remain untold. We are able to say things that would otherwise be unspeakable and hear from multiple perspectives. Art is a way to test a thesis. As often as not I am faced with an opening of possibilities rather than any definite conclusion. Time based and installation works draw us into these possibilities using sound, light, space and motion. Visual associations create meaning using histories, dreams, visions and emotion. The marrying of these elements in unexpected juxtapositions can destabilize the compulsion to stay with the familiar and allow the incomplete and uncertain to be savored and explored…
My work attempts to make the familiar strange and the strange familiar. I am fascinated with how people make meaning, and how that meaning is applied in our lived lives. At its core my work deals with the relationships between memory, nostalgia and meaning and how this complex web plays out socially, politically and emotionally. At its most obvious, my work deals with issues that I am passionate and curious about: race, gender, sexual orientation, class, mass amnesia, the effects of new technologies on our collective consciousness and visions for creating new possibilities.
My philosophy informs my practice…
“... the function of art is to do more than tell it like it is—it’s to imagine what is possible.” bell hooks envisions art in the way that I embrace my role as an advisor-as an engaged, dynamic practice. My work is grounded in the experience that learning is interactive. Transformative learning is most likely to occur when we are personally engaged with the material and perceive the subject matter to be directly relevant to our own lives. I work with students to contextualize their work within the world.
I have often said that what I really do is translate, remind people of what they already know and empower them to use it and develop it further. I facilitate. I see my role as a “teacher” in a similar fashion. I am not there to “deposit” knowledge, but to co-create it. . This is an interactive process that involves discussion, reflection and action. It begins with questioning what we “know” and continues with an acting out our preoccupations and curiosities. How did we come to know what we believe to be true? How can we expand our signifying systems?
Other interests: I have practiced social work in residential centers and city schools for the past 17 years. I will be moving these skills in 07-08, to commit more time to working at the college level and to give more time to my own practice. I am also the founder and director of an international artist and activist group, the Evolutionary Girls Club. The group is an inclusive group of artists and activists. Anyone can join. The name is a play on the old boys club. Wo(men) have been represented by male verbage throughout (his)story. The “boys” get to be honorary “girls” for a change.
We have done shows in many countries around the world, usually as fundraisers or in conjunction with events that take on social issues. The group has published compilations and books. We are working on obtaining a space that would also function as a community arts center/gallery in the city where I currently reside, Rochester, NY.
PhD in American Studies, University at Buffalo; MFA in Media Studies, University at Buffalo. MSW in Social Work, Syracuse University; BS in Social Work, Nazareth College.
Residency Sites: Plainfield, VT
I have been teaching at Goddard since 1993. I left clinical practice to devote my professional efforts to teaching, research, and consulting. My academic interests include: ethnic minority issues, human sexuality and sexual orientation, hospice counseling and death & dying, community psychology, family therapy and mixed-race/adoptive family issues, violence prevention, ethics, qualitative research methods, cultural competency, psychology and films, and gestalt therapy.
My philosophy of teaching centers on a commitment to meet students where they are at in their development as scholars and psychologists, while maintaining a realistic understanding of the demands of the professional marketplace and our profession’s ethics. I am interested in our graduates being license-eligible and being competitive applicants to doctoral programs. I am also interested in our students and graduates being effective agents for improvements in the field of psychology (clinical, community, and educational) and their communities.
My research interests, publications, and grants focus primarily on: community interventions for the prevention of violence against gay and lesbian youths; family systems related to the special issues of gay and lesbian parents and children, adoptive and foster families, and mixed-race families; AIDS and hospice care; and cultural competence in mental health services. I have a personal interest in Native American spiritual practices in mental health.
In addition to consulting to professional organizations and businesses, I have worked as: The clinical director of the Boston Gay and Lesbian Adolescent Social Services, the managing partner in two group practices, a trainer for the American Psychological Association in AIDS Psychology, a substance abuse counselor, a mental health counselor in two psychiatric hospitals, and as a counselor to other Peace Corps volunteers in Benin, West Africa. I have served as an Associate Editor for an APA journal, Cultural Diversity and Ethnic Minority Psychology.
I am a former Trustee of the American Psychological Foundation (APF). I am President Emeritus of The Society for the Psychological Study of Lesbian, Gay and Bisexual Issues of the American Psychological Association (APA). I am also President Emeritus of The Society for the Psychological Study of Ethnic Minority Issues of the APA. I have experience in APA governance, as a member of the Committee for Lesbian, Gay, and Bisexual Concerns. I am a member of: The American Counseling Association, the Council of Graduate Departments of Psychology, The Society of Indian Psychologists, The Division of Family Psychology (APA Division 43), and the American Association of University Professors. My husband, Todd, and our sons, Greg and Max, live on Cape Cod.
PhD in Clinical Psychology, Union Institute; AB in Psychology and AB in Philosophy, Dartmouth College.
I had a very positive overall experience at Goddard. I’m a great fan of Harry Potter; and Goddard was my “Hogwarts.” I’m a playwright and I wrote a musical for my thesis project. I owe a great debt to my two advisors. I was allowed to chart my own direction, learn from my mistakes—but always with the knowledge they were there to catch me when I fell, or set me upright and send me on my way again. The residencies were short (too short), intense, but full of laughter, tears, and camaraderie. I made friends I will have forever. I entered Goddard saying, “Why am I here? I’m not a writer.” I left saying, “I am a writer, and I do belong.”
Residency Sites: Plainfield, VT
I am a passionate autonomy-seeking womyn-warrior in hot pursuit of her own desire, while fighting against all forms of imperial delirium. I consider myself a collective - a network of support and resources, which includes my family, friends and comrades.
I am a life-long learner, forever open to and inspired by all things creative. I am curious about physics and metaphysics. I'm adept at music and sports. I love theory and performance. I am interested in the problematics of representation and the everyday. I particularly enjoy deconstructing gender, culture and sexuality. I like making objects, making sounds, making meaning. I often work with found objects, found sounds and found meanings.
I also like clay, paint, pencils, ink, computers and digital cameras. Most of all, I am interested in living the life of my own choosing, and defining the terms and conditions of my own consciousness and creative freedom.
I am excited to be a member of a community such as Goddard that would dare to dream of an otherwise society, let alone embody one. Such an environment reminds us that learning is a truly ethical experience. The freedom and responsibility of being at the center of one's own learning commits us to defining who we are, who we can become, and why.
MS in Education, McGill University; BFA in Studio Arts, Concordia University.
Residency Sites: Port Townsend, WA
As a teacher, I try and discern where a writer is going, and then guide them towards the best form to carry the story--whether poetry, fiction or non-fiction. Once I have a good sense of the core ambitions and sensibility of the student, I rely on a range of literature that will point the way stylistically, shake them into a different perspective or let them know that they’re on the right track. The point is to inspire confidence in the search for the right form, and this may include trying on different genres or revising through exercises that range outside the expected narrative. I often ask writers of non-fiction to read poetry and dramatic monologues to deepen an appreciation of emotional tone, quick characterization or the impact of repeating imagery. Having poets try on dialogue or explore juxtaposing sections within a long poem also expands the conversation between narrative and lyric. Rewriting is essential to making a manuscript work and developing a relationship to the rewriting process may be the most valuable thing that can be learned.
I have taught inside and outside the academy--teaching writing to teenagers at Downeast AIDS Network supported by a Puffin Foundation grant; to elders in community centers and to women in prison as well as teaching undergraduates and graduate students at CCNY; NYU; Hampshire College and The New School. I have had residencies at the MacDowell Colony, the Millay Colony and the VCCA among others, and I have been nourished by collaborative experiences with composers, artists and other writers. I have published four books of poetry--the most recent, Ten Minutes, was published by Firm Ground Press in 2006 with an October Book Launch at the Bowery Poetry Club. The previous collection, In the Open, was a Lambda Literary Award finalist. I edited The Wild Good, Lesbian Photographs & Writings on Love, Anchor/Doubleday, 1996 which called on my experience in independent publishing at Granite Press. Two other poetry collections, Shooting at Night, supported by the Maine State Commission on the Arts & Humanities, and native tongue, were published in letterpress editions. My poetry has been widely published in magazines and anthologies, including The Women’s Review of Books, The Kenyon Review, Cream City Review and Things Shaped in Passing: More Poets for Life Writing from the AIDS Pandemic, ed. Klein and The World In Us eds. Georgiou and Lassell. I have written reviews for The Nation, Lambda Book Report and OutWeek, and published non-fiction in A Woman Like That, Avon Books, ed. Joan Larkin. As librettist and conceiver of the opera, The Singing Bridge, I received support, with composer Anna Dembska, from Meet the Composer/Commissioning Music USA/NEA; the Davis Foundation; the PatsyLu Fund of Open Meadows and LEF Foundation. The Singing Bridge premiered at Maine’s Stonington Opera House in 2005, produced by Opera House Arts and directed by Richard Edelman. I have co-translated contemporary Spanish poet Jesus Aguado with scholar/translator Electa Arenal, and we held Aguado's first bilingual reading at the Bowery Poetry Club in NYC to coincide with his first trip to the USA in November 2006. In 2003, Arenal & I received the Witter Bynner Translation Residency at the Sante Fe Art Institute to translate a selection of poems by Aguado entitled what you say about me. We have published co-translations from Aguado's poetry collections, Like the Oar That Cuts the Current: Poems of Vikram Babu and what you say about me in Poets Against the War, edited by Sam Hamill; Tarpaulin Sky and in Sirena, a publication of Johns Hopkins University. As Founder/Publisher of Granite Press (1973-89), an independent poetry publisher and letterpress print shop, I published Grace Paley's first book of poems, Leaning Forward, and the bilingual anthology, IXOK AMAR.GO: Central American Women Poets for Peace, ed. Zoe Angelsey. I curated A Different Light’s Poetry Series in NYC in the 90's, and I have spent many years working as a poetry advocate and thinking about the importance of poetry in the health of many cultures has marked my work and life. Please visit my blog, for more information on my work.
MFA in Poetry, Sarah Lawrence College; BA in Literature, Antioch College.
I entered Goddard after a 30-year career in journalism because I wanted to learn to write poetry. I had looked at other low-residence programs, but Goddard clicked because of the response of its admissions office and a visit on a Discover Goddard Day, where I walked around the campus in the snow. From the moment I wrote my admissions essay until the day of my graduation more than two years later, I never wavered from my goal. I always felt I had to make up for lost time. My advisers encouraged me and gave me good instruction while I was on campus and in their comments about my homework.
When it was over, I had written enough poems for a book, which I got published with the help of a small publisher in Maine. Two years later, I'm still selling copies of my book, have given readings, and taught writing classes of my own. The commercial success is only part of it, though. It's having the confidence of knowing that I'm a poet and that I can do this.
My desire to teach has always been fueled by my passion for social justice, sense of social responsibility, and tacit knowledge of and love for people. Early on, I learned how to reach students and create safe and challenging learning environments. Through thirty years of educating others and myself a pattern of constant interaction between theory and practice emerges. New knowledge has always elicited action for me; action in the classroom has always fed my desire to know more.
I received my BA in Education and my Teacher Certification twenty-six years ago. After working as an elementary and middle school teacher in Norway for six years, I enrolled in a graduate course in Curriculum and School Development. This course challenged my classroom practices and opened my eyes to previous invisible patterns of exclusion and privilege. Growing up in Norway as the daughter of Norwegian and German parents I learned early on that there is more than one way to see the world and be seen. Now I was finding tools to further this learning.
I left Norway knowing that I wanted to use my new knowledge to create and implement strategies for change in the classroom and in schools at large. I also wanted to learn more about feminist theory and inter/multi culturalism on micro and macro levels. At Goddard College, I was able to explore these issues through my M.A. studies, my teaching through eleven years, and collaboration with my colleagues engaged in critical examination of their work.
My doctorate work at the University of Vermont allowed me to explore program development, leadership studies, organizational theory, and the ins and outs of academic research, allowing me to reach a larger audience than I could through college level teaching. Most essential to me though, was my study of white lesbian parents of African and African-American adopted children in Vermont.
My own striving for critical, reflective and applicable knowledge fuels my passion for teaching. I believe that each of us has the potential for learning, is interested in learning, and I believe my task as an educator is to support or provide the students in finding the tools and the learning environment that allows them to excel as learners in the context of local and global communities.
For fun I like to be outdoors, hiking, camping, skiing, sledding, swimming, traveling, building or gardening. I am the happiest in wide-open spaces, at the coast or in the mountains. Vermont feels like home, but my connection to Norway is embedded in my bones. The intersection of language, place and self is one that always draws me in and teaches me new truths.
EdD in Leadership and Policy, University of Vermont; MA in Feminist and Cultural Studies, Goddard College; BA in Education, Stavanger Universitet, Norway.
Residency Sites: Plainfield, VT
My most recent book, The History of My Shoes and the Evolution of Darwin's Theory, was published by Carroll and Graf and received the Outstanding Book Award from the Gustavus Myers Center for the Study of Bigotry and Human Rights.
I recently completed In The Province of the Gods, a new book of creative nonfiction that uses the prism of being a gaijin, a foreigner, with a disability in Japan, to look at how a particular culture views difference. I received a grant in innovative literature from the Creative Capital Foundation, and grants from the Toronto Arts Council and Ontario Arts Council to support the completion of the book.
I wrote the libretto for "The Memory Stone," a chamber opera, commissioned by Houston Grand Opera. "The Memory Stone," composed by Marty Regan and directed by Matthew Ozawa, premiered at Asia Society Texas Center in Houston in April, 2013.
I have been a Fulbright Scholar to Japan, as well as a Creative Arts Fellow of the Japan-US Friendship Commission and the National Endowment for the Arts. While in Japan, I wrote "In the Gardens of Japan," a sequence of poems, and collaborated with composers Takechi Yuka and Takahashi Kumiko, and singer Kimula Mika, in setting these poems for traditional Japanese instruments and voice, culminating in concerts in Tokyo, Yokohama, and New York. The poems were also printed as a limited edition Japanese tenugui (traditional Japanese cloth towel) designed by Yasuda Yugo.
My experience in Japan has seeped into my work, renewing my writing and thinking in both content and form. Transforming one's experience into writing that is meaningful to readers, finding the intersection between one's life and the world in which one lives, are what I always keep in mind, both as a writer and a teacher of writing.
As a teacher, I hope to guide my students through the process of writing what is difficult to write by encouraging them to wrestle with what viscerally engages them, to keep the stakes high, and to hone the crucial editorial skills once the initial creative arc has been forged. I aim to help each student find and develop the voice that lifts the work off the page into the reader's psyche.
I stress the importance of reading deeply and widely, and of gaining familiarity with other media, especially visual art and music. No matter the subject, no matter the genre, I am concerned with the organic: how form and content reflect, affect, and interact with each other; how details inform the whole; how the entire work relates to its collected parts.
Much of my work the past fifteen years has been concerned with the body, as both subject and metaphor; as the place where the personal becomes the universal; as the site of memory, language, and desire.
In 2012, I received a Canada Council for the Arts Disability Arts Travel Grant to Helsinki, Finland, where I researched the work of painter Helene Schjerbeck at her centennial exhibition at the Ateneum National Museum and met with Duv Teatern, a theatre troupe of primarily developmentally disabled performers.
In addition to the above, my work includes: Body, Remember: A Memoir (Dutton, 1997; Plume paperback, 1998; new edition, University of Wisconsin Press, 2003); Staring Back: The Disability Experience from the Inside Out, (Plume, 1997), the anthology of writers with disabilities which I edited; Desert Walking: Poems (Advocado Press, 2000); Anesthesia: Poems (Advocado Press, 1996); The Healing Notebooks (Open Books, 1990), a sequence of poems for which I received the Gregory Kolovakos Award for AIDS Writing; an earlier book of poems Night After Night (Beaux-Arts Press, 1984); and the play A Human Equation, which premiered at La Mama E.T.C. in New York City.
My work continues with Works on Paper, a new book of poems. My website is www.kennyfries.com.
MFA in Theater Arts-Playwriting, Colombia University, School of the Arts; BA in English and Literature, Brandeis University.
Selah Saterstrom's thesis manuscript, The Pink Institution, was published by Coffee House in 2004. She is also the author of The Meat and Spirit Plan (Coffee House Press, 2007) and is on the faculty in the University of Denver’s graduate creative writing program and in the Naropa Summer Writing Program. Read her blog at http://divinatorypoetics.wordpress.com.
I transferred to Goddard's individualized BA program after completing my first two years at Humboldt State in California. For me, studying at Goddard was both frustrating and rewarding. I loved the residencies, and received much more thorough feedback from my Goddard advisers than I did from professors at my previous school. My studies at Goddard focused on depth psychology, comparative religions, world literature, and writing. Although I'm still not sure what to do with my Liberal Arts degree, I know that the education I received at Goddard has given me the habits and skills to start my own projects and teach myself anything I need to know. Goddard isn't right for everyone, but it's perfect for certain people. If you think that you might be one of those people, I look forward to talking with you.
Residency Sites: Plainfield, VT , Residency Sites: Port Townsend, WA
I have been affiliated with Goddard for nearly twenty years, first as a faculty member and then as a Program Director. I continue to find it an enormous privilege to lead such a unique community of writers and learners. I believe that an individualized approach to the teaching of writing is the only truly effective way that writing can be taught, and I am deeply committed to the kind of transformational learning that is at the heart of a Goddard education.
I am the author of I Am the Word: A Guide to the Consciousness of Man’s Self in a Transitioning Time (Tarcher/Penguin, 2010), The Book of Love and Creation (Tarcher/Penguin, 2012), and The Book of Knowing and Worth (forthcoming, Tarcher/Penguin 2013).
My work for the stage has been produced internationally and includes plays, operas, solo-performance work and text for dance. My plays include Mystery School, performed by Tyne Daly, the stage adaption of War Letters, with Treat Williams and Mario Van Peebles, Terminal Bar, Moon City, Body Parts and The Pompeii Traveling Show (NY Drama League Award). My operas include Red Tide, Long Island Dreamer and Lamentations and I collaborated with Shapiro and Smith Dance Co. on Never Enough and Notes from a Séance. I completed credited rewrites and additional material for the national tour of Tallulah, with Kathleen Turner and Truth in Translation, commissioned by the Colonnades Theater Lab and South Africa’s Market Theater. My work has been performed at venues including The Sundance Film Festival, The Long Wharf Theater, En Garde Arts, The Ensemble Studio Theater, The Joyce Theater, The Minnesota Opera New Music-Theater Ensemble and the Public Theater’s “Wake Up Call” series. My plays are included in numerous anthologies, including The Best American Short Play series.
MFA in Playwriting, Yale University; BFA, Tisch School of the Arts, Dramatic Writing Program
Residency Sites: Plainfield, VT
I write. And help others write through the blank or overflowing page, through what we know to what we don't know. I know what my students know all through my body: writing is hard and holy, mysterious and ecstatic, puts us on and over the edge. In all my teaching, I try to make a loving place for people to gather, find courage, and trek into the wilds of their lives. I’m also guided by my life as part of the earth, and specific to where I live, the tall-grass prairie, and the understanding that our healing and the earth’s is interwoven at every turn.
My inner-Goddard is accompanied by fine companion-work, particularly as I serve as Poet Laureate of Kansas, which takes me throughout and beyond Kansas to explore the power of our stories.
My own writing is a menagerie of genres. I’m currently working on a novel, and two memoirs, one about cancer, healing and community, and another on reinhabitation of body, land, and memory. My poems and essays are published in literary journals and anthologies, and I give frequent readings (usually featuring spontaneous poetry composed aloud).
I facilitate workshops for many populations – people living with cancer, low-income women of color, adults in transition, and rural elders, and I serve as a roving scholar for the Kansas Humanities Council.
I am particularly interested in writing and storytelling as an ecological and spiritual practice, and also in how writing and storytelling in groups can weave or reweave community by breaking the silences that hide us from each other.
I also perform spoken word poetry in collaboration with other artists on interfaith dialogue, cultivating courage in the face of loss, and trying to constantly figure out how to live. Some of this collaborative performance happens with my songwriting partner, Kelley Hunt, a rhythm and blues singer who performs our songs on tour around the continent.
Although I began my life in Coney Island, after being raised by a pack of Jewish raccoons near the Jersey shore, I followed I-70 west to Lawrence, KS., where I've lived over half my life. It is a fierce and gentle place where men stroll downtown in chartreuse evening gowns, anarchists set up tent cities in the park, hundreds march for peace while sipping lattes and debating school closings, lilac and basketball abound, dissent happens, and artists decorate their gardens with festively-painted bowling balls.
I’m a member of the Transformative Language Arts Council, and also the founder of the Transformative Language Arts concentration in Goddard College Master of Arts in Individualized Studies program, which combines social and individual transformation through the written and spoken word.
I share my home with three curious kids, my husband, a cat who rules, a dog who obeys, a bonsai hamster and miniature rabbit, a small herd of deer, a bunch of coyotes, many turkey, various spiders, occasional bobcat, compost-eating crows, a red fox, one or two owls making harmonics at night, and a very big sky full of endless entertainment.
Books: The Divorce Girl (a novel, Ice Cube Press, 2012); An Endless Skyway: Poetry from the State Poets Laureate, co-edited with Marilyn L. Taylor, Denise Low and Walter Bargen; The Sky Begins at Your Feet: A Memoir on Cancer, Community & Coming Home to the Body (Ice Cube Press); four volumes of poetry: Landed, Animals in the House, Reading the Body; Write Where You Are (Free Spirit Press), Sandra Cisneros: Activist and Writer (Enslow Press), A Circle of Women, A Circle of Words (editor, Mammoth Press).
PhD in English, University of Kansas; MA in Creative Writing, University of Kansas; BA in History, University of Missouri.
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Stephan Ross (RUP ’59), born Szmulek Rozental in Lodz, Poland in 1931, is a survivor of the World War II Holocaust, having endured ten concentration camps in five years. He arrived in the United States in 1948 through the U.S. Government Committee for WWII Orphaned Children, determined to better himself and the world. After getting a BA in Sociology from Goddard, Ross went on to receive his MA in Psychology from Boston University in 1962 and worked for almost 50 years as a counselor for disadvantaged youth in Boston.
Among Ross’ many contributions to elevate young people from the effects of poverty was the creation of fee waivers and funding assistance from the College Board for impoverished youth in Boston to take the SAT and apply to college. Owing in no small part to Ross’s efforts, SAT fee waivers are now a nationwide program of the College Board.
Beginning in the late 1980s, working with then Boston mayor Ray Flynn, Stephan raised more than $14 million from public and private entities to erect the New England Holocaust Memorial and World War II Veterans Memorial. The Veterans Memorial was built to honor American troops who liberated the Dachau Concentration Camp. The two memorials stand together near Faneuil Hall, on Boston's historic Freedom Trail.
“Goddard nurtured in Stephan, the way it does in all Goddard students, a drive to understand life experiences and translate that learning into actions that address the roots of the problems we face in society,” Goddard College President Barbara Vacarr said. “He is a living example of what a Goddard education is all about: an activist-oriented, rigorous academic inquiry that compels students to take action to effect change in our local and global communities.”
Residency Sites: Port Townsend, WA
Students are often instructed to “write what you know.” I prefer the suggestion, “Write what you deeply and truly want to know.” I write in order to understand. This process began with the diaries I kept as a child. At age twenty-five, I sought through my memoir Solitaire (Harper & Row, 1979) to understand anorexia nervosa – years before “eating disorders” became a household term. In my first novel, Face (Warner, 1994), I explored the identity collisions that so often occur within mixed-race families. My second novel, Cloud Mountain (Warner, 1997), was my attempt to comprehend two grandparents I had never known and, through their story, a father who always seemed an enigma to me growing up. In my third novel, Flash House (Warner, 2003), I struggled to make sense of the unintended consequences that so often occur when well-intentioned people – and cultures – attempt to “rescue” those who don’t necessarily wish to be rescued. And most recently, in Gaining: The Truth About Life After Eating Disorders (Warner, 2007), I’ve tried to make sense of all that I could not understand about eating disorders when I was recovering from one back in the 1970s.
I believe writing is a journey as varied and unpredictable as each writer’s curiosity. In my opinion, the role of a teacher is to offer students support, encouragement, and constructive criticism to facilitate that journey. What a writer needs to hear is not so much what a teacher likes as what works, and what doesn't. Does the piece hold together with a consistent and authentic narrative voice? Is the world as created on the page believable and vital? Are the characters and their problems compelling? Is there passion in the prose? Of course, when the answer to these questions is no, the job of the teacher is to offer suggestions for fixing the problems – but not to explicitly spell out how the fix “should” be done. I believe that good writing can be nurtured. It can be assisted. It cannot be imposed. My goal as a teacher, then, is to equip students with the necessary skills to make the writer’s journey. They must dig deep within themselves to discover where that journey will take them. My own writing career has led me in many unexpected directions both on and off the page. My fiction and nonfiction have been published in periodicals ranging from Self and Cosmo to the literary magazine Other Voices, as well as in several recent anthologies. I’ve served as president of the national writers’ organization PEN USA, and mentored young novelists through PEN’s Emerging Voices program. At UCLA Extension’s Writers’ Program I’ve taught a variety of classes and workshops. And at age 50 I decided to earn my MFA through the Bennington Writing Seminars. Returning to school for this degree was a gift to myself and to my career. The journey is ongoing. For more information, please visit my web site at: Aimee Liu.
MFA in Creative Writing, Bennington College; BA in Fine Arts, Yale University.
Residency Sites: Plainfield, VT
Wendy Phillips, Ph.D. is a psychologist, psychotherapist, researcher, and a practicing visual artist. She is a Licensed Marriage and Family Therapist. Her work is also informed by principles of Depth Psychology, and she has found that depth perspectives provide an excellent frame for her ethnographic research. Her clinical interests include culturally relevant psychotherapy, culturally informed conceptualizations of mental illness, group work, the ritual as a psychotherapeutic intervention, dream work in groups, and Expressive Arts Therapy. She likes to experiment with the use of art materials and creative processes in psychotherapy.
Wendy’s research interests include the metaphysical beliefs and traditional healing practices of women of African and North American indigenous descent. Her research project along La Costa Chica of the Pacific coast of Mexico combines phenomenological interviews with photographic processes. She has recently published papers on healing rituals related to beliefs in totem animals and on the archetypal conservation of a deity from the Yoruba religious pantheon in the Afromestizocommunities of Mexico. She is interested in traditional indigenous African religious systems such as the Yoruba and Vodun.She is also interested in hip hop music and culture and possible references to traditional indigenous African ritual practices and archetypes.
Wendy’s artwork has been exhibited widely, including “La Sombra y el Espiritu,” a two-person exhibit in collaboration with the Dominican painter Lucia Mendez, at the Sonja Haynes Stone Center for Black Culture and History at The University of North Carolina at Chapel Hill; “La Limpia,” in Conjunction with the Festival Afrocaribeno, Fototeca Juan Malpica Mimende, Instituto Veracruzano de la Cultura, in the Puerto de Veracruz, Mexico; and at the Museum of the African Diaspora in San Francisco.
Visit her website at www.diasporacitizen.com
PhD in Psychology, Georgia State University; MS in Physical Therapy, University of North Carolina at Chapel Hill; MA in Psychology, Georgia State University; BS in Physical Therapy, University of Pennsylvania.
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Deborah Armstrong Hickey
Residency Sites: Plainfield, VT
When I consider what early experiences have informed the work that I do and the person I am, I begin remembering many of what might be called ‘big’ dreams that I had as a child and an adolescent. When I was 16, I was struck by reading a foundational text in play therapy, Dibs, In Search of Self, by Virginia Axline. I went on to complete a dissertation study validating the phenomenon of Lucid Dreams in school age children and I am a registered Play Therapy Supervisor. Importantly, I integrate play and dreamwork into my clinical work with clients of all ages.
I graduated with a PhD in Psychology from Alliant International University in San Diego, CA and received master’s degrees in Marriage and Family Therapy and in Developmental Psychology from Chapman University in Orange, CA.
Early in my career I worked predominantly with young children and families who were encountering violence and marginalization in their lives, and have more recently focused on working with couples and with those who have encountered trauma.
Since completing my doctorate I have woven a professional life that integrates teaching, clinical practice, and a measure of research. I have a range of interests that express a common thread around my life-long curiosity in consciousness and the nature of what grows and disrupts our well- being.
I am particularly inspired by those who bring together diverse ideas, research findings, and disciplines in ways that are thoughtful, well organized, and also dive deeply into meaning. Most recently I have been studying the field of Interpersonal Neurobiology, a perspective that brings together consilient findings from a diverse range of disciplines, including neuroscience and spiritual traditions.
I have served as President of the California and the South Carolina state chapters of the Association for Play Therapy and on the Board of Directors for the International Association for the Study of Dreams. I am an active member and occasional presenter for the following associations: the American Association of Marriage and Family Therapists; the Global Association for Interpersonal Neurobiology; the Sandtray Network International; and the International Expressive Arts Therapy Association.
Having substantial postgraduate study in Postmodern-Narrative Psychotherapy and Expressive Therapies I am devoted to training therapists who will engage in practices that are collaborative and creative. I am acutely aware of how systems and contexts inform what we view as ‘problems in living’, how we identify and treat these ‘experiences’, and very simply, how humans may suffer deeply due to these practices.
Right now I am beginning to explore the landscape of community driven art engagement, with one example being the Theatre of the Oppressed. I have a practice, The Mindgarden, where I specialize in working with couples and those who have encountered trauma using expressive therapies as well as trauma focused treatments such as EMDR.
What I hope to bring to Goddard begins with my being receptive to what begins to grow out of the heads and hearts of students, faculty, staff, and the larger community. I have some skills in riding tensions that come with creating and bring into life new dreams ‘using’ the expressive art as a vehicle for discovering the growing edge of what’s next!
On a personal note, I grew up in Bethlehem, Pennsylvania; lived for thirty years in Southern California; and moved to Greenville, South Carolina ten years ago. I have two daughters, Amber and Rachel.
PhD in Psychology, Alliant International University; MA in Marriage and Family Therapy, Chapman University; MA in Developmental Psychology; Chapman University; BA in Sociology with minors in Psychology and Dance, Chapmen University.
Residency Sites: Plainfield, VT
I have been engaged as an artist for more than twenty years in a practice that includes visual art production, installation, writing, sound, book works, film and performance. This is how I make my living. Joining the faculty at Goddard in 1998, represented the first "job" that I’ve had since I became fully self-employed in 1984. I live in Newfoundland, the youngest and economically poorest province in Canada, though one of its richest in culture, history, and traditions of survival. It is both a challenge and a privilege to thrive as an artist and filmmaker in such an environment... distant from the wealthy centres, committed to the margin and the possibilities it holds. Most of my work, in one way or another emerges from this PLACE, and the daily power of wild nature that has remained un-mastered and uncontrolled, here in the North Atlantic.
My art practice is extremely diverse... crossing boundaries of discipline, media, and process. I work in the landscape with site specific installations, in the studio with 2 and 3 dimensional media, at my computer with digital imagery, and out in the world at large, with sound recorder, a 16mm or video or still camera. I make meaning in whatever media seems best suited to throw my voice to the audience I want to speak with. I have installed transient works that lived in wheat fields in rural Alberta, mapped the domestic landscape of coastal British Columbia, the badlands of the Canadian prairie, and rural Japan. I have made films that speak to people who might never enter an art gallery. I have created work that emerged from, and now lives permanently in, a small rural fishing community. I have made books for children, drawings for banks, and have produced and installed work that speaks to doctors and medical students in the school and hospital corridors where they work.
For me, this is one of the most provocative thrills of practice... finding the way to throw the meaning... the voice that my audience can "hear." I am process and community-based, rather than product oriented; my practice focusing more on ways of seeing and knowing that on the manufacture of rare and beautiful objects for consumption... though I am deeply engaged in the process of "making" and "forming"... very grounded in those rituals of a physical body interacting with the material world. I also continue to exhibit in the traditional gallery system, in artist-run-centres, and my work has been shown locally, nationally, and internationally, and is in major public collections, including that of the National Gallery of Canada.
In addition to my solitary practices both in and out of the studio- I also work with others- collaborating with individuals and communities, sometimes in the arts and often outside those boundaries.
I spent two years as the first Artist-in-Residence in the Faculty of Medicine at Memorial University, where I taught medical students, undertook research into how they learn to see and know the body, and produced a large and diverse body of work which reflected on the clinical and medical education communities. This work can be seen on-line at An Artist in the Halls of Science.
I LIKE working with non-artists…whether they are fishers or farmers, scholars or med students, it keeps me thinking and learning, languages strategies, ways of thinking, working and dreaming.
Since 1987, I have also been working as an Art Director and Production Designer in the independent film community, collaborating with writers, musicians, actors, film artists and crews, to bring some one else's vision to the screen. My work in the film industry has had major impacts on my studio practice, offering opportunities to collaborate, rather than author, to stretch my skills materially and in a design context, and to grapple with issues of representation, appropriation, and the role of film in rendering a unique cultural voice, in an environment still dominated by big-studio Hollywood. It has also privileged me by embedding me deeply in a creative and cultural community which is larger in spirit and in context than the world of the art gallery, and which balances the solitary work of my own studio practice.
I am a practitioner... a working artist. I am a feminist; a political activist, an anti-colonial, and an ardent learner who has struggled to transgress the boundaries which fragmented knowledge when I was a student... whether they are between Art and Science, male and female, rational and intuitive. The perspectives that I try to bring to my interactions with students in the arts, are those of engaged, self-examined, and strategic creative practice within communities, however they might be defined. I believe that the artist in whatever discipline, has a crucial and fundamental role to play in the elaboration and representation of cultures, in the investigation of both cultural and individual voice, in the invention and examination of knowledge, and in the re-enchantment of our relationships with one another and with Nature. My work with students has enriched my life and my practice immensely... enlivening my deep curiosity about how and why we make meaning, challenging my spirit, my thinking and my heart, and re-invigorating my commitment to a community of diverse creators who are continuously engaged in learning. To see my work in all disciplines, please visit www.pamhall.ca.
Current Research Interests: medicine, health, the female body; the practices of fishing, farming and other human physical engagements in Nature; Ethics and Moral Geography; Art and Science; the politics of culture and empowered voice; post-colonialism; theories of knowledge, cognition and perception; and art, media and cultural practice, both historically and in a contemporary context.
MEd in Art Education, University of Alberta; BFA with honors in Painting, Printmaking, and Design, Concordia University, Montreal.
Since graduating from Goddard College's Residential Undergraduate Program (RUP) in 1968, Donald John Willcox (BA RUP '68) has led a life of creativity and global service, providing resources and opportunities to those less fortunate. He is a quiet hero--quiet because we don't often see individuals like him in the news, winning Oscars or Pulitzers.
Twenty-three years ago, Donald founded the Foundation to Encourage the Potential of Disabled Persons in Thailand. Just last month, the mayor of Thailand's 2nd largest city, Chiang Mai, presented Donald with a Certificate of Thanks for providing 40 wheelchairs to disabled persons in the area.
Donald is a true embodiment of the Goddard College mission: To advance cultures of rigorous inquiry, collaboration, and lifelong learning, where individuals take imaginative and responsible action in the world. He has, in his own words, "kept the dream alive" through his "quiet performance." Read more about Donald below.
"As a Goddard student during the late 1960s, I found the educational atmosphere liberating, flexible and challenging.
Residency Sites: Plainfield, VT , Residency Sites: Seattle, WA
Sharon Cronin has over twenty-five years of experience in bilingual and culturally relevant early childhood and elementary education. She earned her Bachelor of Arts Degree in Bilingual Education with an emphasis in African American Studies from the University of Washington; her Master of Arts Degree in Human Development with a specialization in Bicultural Development from Pacific Oaks College Northwest; and her Doctoral Degree in Curriculum Instruction majoring in Bilingual Education, Multicultural Education, and Literacy, with cognates in Special Education, Caribbean Studies, Anthropology, and Sociology from the University of Washington. At the Center for Linguistic and Cultural Democracy, Dr. Cronin co-leads the Teaching Umoja Participatory Action Research 15-Year Commitment, examining the ethnic identity, bicultural, cross-cultural, and tri-literacy development of children of color, along with a team of 40 co-researchers from across the United States and Port Royal and Moore Town, Jamaica.
She is co-author of Soy Biling_e: Language, Culture, and Young Latino Children. Through the Soy Biling_e Network, Dr. Cronin further develops and promotes the Soy Biling_e Adult Dual Language Model for early childhood and elementary teacher education. She is currently lead faculty for the San Francisco State University CAD (Child and Adolescent Development) Head Start Dual Language Program and faculty with the Praxis Institute for Early Childhood Education and Praxis at Goddard College. Sharon is a founding member of Seattle-based Grupo Bayano (African Caribbean Music and Dance).
PhD in Curriculum and Instruction with a focus on Literacy and Bilingual, Multicultural, and Special Education, University of Washington; MA in Human Development with the Bicultural Specialization, Pacific Oaks College; BA in Bilingual Education with a minor in African American Studies, University of Washington.
Evalyn Cora Bates was one of the first two graduates of Goddard College’s four-year undergraduate program in 1943. Her 1957 graduate thesis from the University of Chicago -- "Development of the Goddard College Adult Education Program" -- was the first clear articulation of a low-residency, progressive education program.
In 1963 the Adult Degree Program was founded at Goddard College largely because of Evalyn's vision and hard work. It formed the basis for the many low-residency adult degree programs around the country.
Evalyn Bates opened the door to higher education to thousands of adult and non-traditional students, so we are proud to have her name grace our front door. Her thesis proposed that the Goddard model of education would:
- Evaluate progress and discuss successes and failures;
- Provide time to search for meaning;
- Provide situations for motivated students to achieve their goals;
- Provide opportunity for satisfying personal and social relationships;
- Encourage students to become who they truly are, expand their potential, and increase confidence with peers, allowing for continual life growth benefiting the individual and society;
- Be based on key situations that are part of daily life;
- Be imaginative, creative, and bold in design.
Residency Sites: Port Townsend, WA
I am excited by the wide variety of forms and concerns of contemporary writing at the turn of the century, and as a teacher I am committed to representing and celebrating this range. I enjoy the exploratory and experimental forms of writing as much as I appreciate meditative and philosophical conventions. When teaching creative writing workshops, I often encourage students to experiment with and expand their writing styles by trying new forms. I also urge students to think of their work as a book, or a project, rather than just one piece of writing after another. My primary interest in writing is in how it is an especially useful way of thinking or sorting through the world, so I like it when students bring outside concerns into their writing so as to expand their work outward beyond emotion or self exploration. In my own poetry, I explore a documentary poetics that is concerned with social realism but avoids the conventions of realist, naturalist, and confessional genres. My work moves between lyricism, explanatory prose, and theoretical discussion. Publications include: This Connection of Everyone with Lungs (University of California Press, 2004); Fuck You-Aloha-I Love You (Wesleyan University Press, 2001); Response won the National Poetry Series award in 1995 and is available from Sun & Moon Press.
In addition to poetry, I also write literary criticism; Everybody’s Autonomy: Connective Reading and Collective Identity was published by University of Alabama in 2001. And, I co-edit the journal Chain with Jena Osman.
PhD in English Literature, SUNY at Buffalo; BA in Languages and Literatures, Bard College.
Residency Sites: Plainfield, VT
BA in Individualized Studies, Goddard College.
Residency Sites: Plainfield, VT
My best skill is asking questions, both of others and myself. My academic training is cultural anthropology, music, and design. I’m now in just my fifth calendar year at Goddard, but I have wanted to be involved with the College since the 70s when Goddard’s Institute of Social Ecology was a living legend in the worlds of both sustainable resources and progressive education.
For fifteen years, I taught environmental design, community energy planning, and indigenous politics at Governors State University, the experimental non-graded campus within the Illinois system. Simultaneously, I took as much work as a jobbing violinist as I could find—everything from recording a commercial for a muffler company, being part of the stage quartet for Rev. Jesse Jackson, and performing with the Illinois Philharmonic Orchestra. Tonalities and rhythmic patterns are native to my meaning-making capacities.
I’m very interested in research on mirror neurons, especially as this relates to multi-tasking. For example, I’ve found that sometimes imagining practicing my violin in very precise ways sometimes has the same effect as working with the physical instrument. Grappling with anthropological theory mysteriously builds my violin technique and sharpens my intonation. I love these kinds of simultaneities and coincidences as much as I do anomalies.
My most well-known (and controversial) research is a geometric theory of planetary resources and climate--the earth energy grid. This model is a mnemonic frame for me to store and retrieve what I discover in my life and work—which is almost always from a transdisciplinary perspective. The geometry of the grid lies at the heart of much sustainable construction and theory.
In 1994, I joined the full-time core interdisciplinary doctoral faculty at the Union Institute and moved from Chicago to the coast of Maine.
Along with classical and rock performances, I recorded CDs as soloist with Tim Janis (Celtic) and Dunne Roman (New Age).
I traveled to supervise student work in countries as different from each other as Papua New Guinea, Australia, Russia, Brazil, Finland, and much of Europe. With 9/11 came a crushing sense of myself as not unlike Nero, fiddling while Rome burned, and it haunts me to this day. I do not play as much right now.
I left Union in 2005, wanting to be involved more directly as a U.S. citizen in the global culture. I joined the graduate faculty of the international School of Public Policy & Administration at Walden University.
I advise on sustainable technology, especially food and “homeland security” issues. Still, my heart beats fast in the realm of magic, consciousness studies, and ritual performance. I am always excited to discover intersections of my worlds.
I encourage students to pay attention to analogous discoveries they make in their own life processes. My basic belief is that any discovery actually reveals the identity of self. Connecting with that power is, for me, the promise of soul.
Education Background: PhD in Cultural Anthropology, University of Chicago; MA in Cultural Anthropology, University of Chicago; BA in Sociology and Anthropology, Occidental College.
I left teaching in June of 2001 and entered the Creative Writing program at Goddard in July. It took me two years to earn an MFA in Creative Writing, and was the most positive life changing experience I ever had. I focused on long fiction and ended up with a novel that was published in 2004. At the residencies I made friends from all over the country that I see regularly. The residencies were so amazing, so energizing that if they had lasted longer, I sometimes felt as if I would explode. My faculty advisors listened to me better than anyone in my life except my wife, and used what they learned from me to direct my studies so I really got the most out of the program. I am now a writer. I have one published novel, one I'm revising, one I'm going to revise, and one I'm working on. I love Goddard College and work hard to attend the alumni Clockhouse Writers' Conference each summer, which overlaps the residency. If you are thinking about attending Goddard, I would love to talk with you! I'm available most days, but if I'm out, I'll get back to you as soon as I can.
Baba Israel (IBA '04, MFAIA '08) is a New Yorker, hip hop emcee, poet, and beatboxer who has toured across the United States, Europe, South America, Asia, and the South Pacific performing with artists such as Outkast, The Roots, Rahzel, Ron Carter, Afrika Bambaataa, Vernon Reid, and Bill Cosby.
Baba has been featured on MTV, BET, and VH1, and in the films Breath Control, The Freshest Kids, Freestyle, and Hip Hop for Hope.
In 2008, he was selected as part of Lincoln Center's Rhythm Road, touring Asia and the South Pacific with the Dana Leong Project. Together with Yako 440, Baba was named in URB Magazine's prestigious NEXT 1000. Their latest album, "Beatbox Dub Poetics," is available at CD BABY.
Baba is also active in his community, conducting workshops and assemblies at schools through Open Thought Arts and bringing theater to underrepresented communities through Playback NYC Theater Company, which he co-founded.
Baba Israel graduated from Goddard College first with a BA in Individualized Studies (IBA) in 2004, and an MFA in Interdisciplinary Arts (MFAIA) in 2008.
You can visit his website at www.babaisrael.com.
Goddard College BA in Individualized Studies, 2004; Goddard College MFA in Interdisciplinary Arts, 2008.
If you are looking for a graduate program in creative writing, look no further! I read brochures, visited campuses, figured out costs and then visited Goddard. The search stopped. I had come home to Goddard. It can be your home too. Give me a call and we can talk about the Goddard experience. As a dramatic writer, I discovered a family of writers who have had a profound impact on my work and work ethic. We even have a Google group that keeps us connected, nudges us to keep on writing and provides an incredible base of support. As part of the Goddard family, I am not working alone. You will be amazed at the caliber of instruction and personalization that Goddard provides. My advisors were stellar and brought me to a new level of professionalism. They are now always a part of whom I am. Call me, write me, and most of all, really consider Goddard.
My overall experience at Goddard was unlike any other institution of higher learning. For the first time in my life, I was in control of my education. My final portfolio was called Cooking Authentic Canadian Cuisine: Provisions for your Soul and my areas of study included: memoir, creative writing, interdisciplinary cultural studies, Black Canadian history, performance, experimental video, installation and painting. Throughout my course of study, my intention revolved around voice—in understanding and contesting how oppressed voices have been silenced by history, public policy, and by family – which enabled a space for my own voice as an artist to emerge. All of my mentoring relationships were extremely supportive and insightful. My four faculty advisors offered me the encouragement, which allowed me to stretch beyond my expectations. The residencies were like family reunions, but the only catch was we weren’t blood relatives. Initially, our only connection was a willingness to be vulnerable artists and gain a new experience. I learned something valuable from peers, whether it was more information about their medium, or more about myself in the context of my own work. I have a better understanding of the role of artists and have been transformed through this unconventional program—an intensive self-reflexive journey in making art by living life.
I entered Goddard intent upon discovering ways to bond together people of differing cultural and ethnic backgrounds. My studies and research took me from Cultural Anthropology to Psychology to Philosophy to Semiotics realizing, on the way, that my ultimate goal was to understand and find ways to resolve Prejudice. In an effort to find solutions there came an unexpected twist to her studies; I decided to write a young adult’s novel to teach children how to positively engage other cultures. In the end Intercultural Interaction and Prejudice Prevention through Theory and Creative Writing became my thesis. Currently, I am editing my book and looking forward to its publication. Please, contact me with any questions you may have about the MA in Individualized Studies Program. I look forward to talking with you about Goddard and hearing about the ideas that impassion you.
Jessica F. Morris
So much of psychology involves thinking on multiple levels, attending to the smallest details while keeping an understanding of the whole. I bring this perspective to working with students, both as a method of teaching and a skill to teach. My goal is to work collaboratively with students to identify specific areas of learning within the larger context of professional objectives.
I am a licensed clinical psychologist and certified health services provider in Massachusetts. My career is a combination of teaching, clinical work, research, writing, and professional activities. Conducting psychological testing and assessment, I work with children and adults. My background in psychotherapy has been primarily with adults in individual cognitive-behavioral and behavioral therapy. I also have experience with substance abuse treatment, group therapy, couples and family therapy, brief therapy, and feminist therapy. Most clients with whom I work have been low-income in both rural and inner city settings.
My primary area of research is in lesbian psychology with a particular focus on the development and disclosure of lesbian identity. I examined the relationship between mental health and being out for lesbian and bisexual women. For my research, I have received a number of awards. Recently, the areas on which I have focused include, lesbian and bisexual women of color, lesbian and bisexual mothers, and the role of the ex-gay movement and reparative therapy on public policy. For many years I have been active in, and dedicated to, the work of Division 44, the Society for the Psychological Study of Lesbian, Gay, and Bisexual Issues, serving on the Executive Committee and as the 1999 Division 44 Convention Program Chair.
PhD in Clinical Psychology, University of Vermont; AB in Psychology and Women's Studies, Vassar College.
My focus turned out to be on relationships. I studied the relationship of art to society, my relationship to other artists both contemporary and historical. I looked at my relationship to my parents who were both visual artists as well as how I related to other textile artists. I was seeking to deepen both my understanding of how I connected to art and why that connection was important to me. Once I moved beyond needing some comparative or evaluative feedback, the mentoring relationships proved interesting and insightful. Having a mentor as opposed to a "teacher" is a fantastic learning experience in itself. Very rewarding is my summation. I learned so much during the residencies as I used this packed series of days to see and do as much as I could. The residencies were a time of incredible growth and change as I worked to actualize the ideas that had been informing my packets and physically to manifest the changes about which I had written. A hothouse experience. Goddard was a fantastic experience and very liberating for me. It is an environment where I could take risks in ways I had not found possible elsewhere. As a result of my experience I am involved with thinking creatively, open to a broader range of possibilities and secure in what I value and why. My definition of success has been altered forever. Please feel free to call me, write me or email me if you are interested in learning more about my experience at Goddard.
Residency Sites: Plainfield, VT
I’m delighted to support the learning of Goddard’s extraordinary students. The insight, energy and innovation you bring to your lives and communities has remarkable power and brilliance. It is an honor to build a relationship of respect and honest exchange to support your growth.
I have been here for sixteen years in a variety of roles including advisor and director of several undergraduate and graduate programs; my core identity has always been to spur and support students as an advisor. Raised in a working family, I was inspired by and worked in the antiwar (Vietnam), Civil Rights and environmental movements that sought to build more just societies. After completing an undergraduate degree in environmental sciences, I lectured and hiked mountains and valleys as an environmental educator.
I went on to counsel poor families as a rural crisis intervention worker, teach about environmental justice in prisons, and lobby state legislatures to fund community groups that served people with disabilities as well as poor and working communities. At graduate school I sought to learn from others who shared these values and visions. I plunged into the extended study of United States and global history—as a way to make meaning of and understand the globe and to complement my lived experiences through sustained research, writing, and reflection. I wrote and edited several books about the collective efforts of people with disabilities to overcome workplace and educational discrimination.
My current interests are wide ranging; there are usually a half dozen books and journals in my study area. I seek inspiration and insight from the efforts of people around the globe to build just, egalitarian and creative communities. At the same time, I believe we have a concurrent responsibility to question and dismantle the industrial/militarist system that has exploited the earth’s resources, overpowered the budget and political process, divides peoples and hampers the emergence of local as well as global justice efforts.
At Goddard, I have worked with a wide range of students in any number of areas, typically in the humanities, social sciences, and contemporary literature. More noteworthy than my goals are your interests, passions and pursuits. Why are you here? What is important for you? What risks are you ready to consider and take? How can we come together to make your learning challenging, vital – even transformative? This is your time.
PhD in American History, Minor in Anthropology, University of Wisconsin at Madison; MA in American History, University of Wisconsin at Madison; BSE in Nature Interpretation, SUNY.
Residency Sites: Plainfield, VT
It begins with the land, a farm yard in the Peace River Country of northern Alberta. Sky, seasons, weather, beauty and labor. Many books. From twelve, and since, and still, a journal. At fourteen, a camera. Many more books. Two friends who are that because they also like the bush. Late in high school, beginning to read philosophy. A university in the east. Want to learn everything except science and math. Do. Buy a much better camera. Film school in London. London itself. The women’s movement. Begin to make experimental films at the London Film Coop. Finally old enough to want science: physics, cosmology, optics, meteorology, geology, botany. Experimental film and scientific images are related, I come to think. Art is about changing state, learning to perceive and teaching what’s been learned. Scientific images do that too.
Need to be in my own country again. Go back to the place where I grew up and spend three years alone, taking pictures, writing, shooting film, recording sound, learning to see more than I ever thought I could. There are other kinds of land too: tree planting work, relief camp attendant work on oil rigs. Back in the city, I make a multimedia show with the materials from the years in the country. It is called Notes in origin. Travel with the show to Melbourne, San Francisco, Montreal, Toronto, London. High art is lonesome work, and I miss the land. Get involved with Strathcona Community Garden, a four-acre site in a warehouse district in the downtown east end of Vancouver. Learn to survey, lay drains, build forms and pour concrete, save seed, write polemics, make an impression at city hall, work with every kind of journalist, fund-raise, build community alliances, commission an architect, supervise youth corps groups, all while working with the realest, sharpest, most down-home, individualist, maverick souls in the city.
Meantime, things have changed: personal computers, complex systems theory, scientific visualization, cognitive science, neurophilosophy. It’s time to go back to school, because now it’s going to be possible to rebuild cognitive theory and make an epistemology that works for art.
Toward the end of the doctorate it begins to becomes clear that the story ends with land as well as beginning there. Land and mind. Their relation, their defense.
I can support student work in linguistic and non-linguistic media: in photography, film, video, writing, environmental sound composition, and in digital media, including the web. Currently writing about electroacoustic music, mathematical and scientific visualization, the philosophy and neuroscience of perception, imagining, language, and metaphor. I have been particularly taken with nature writers, English and American Romantics, early twentieth century fiction in English, women’s fiction, journal writing, and science fiction. Also interested to work in the anthropology of place, ecological theory, urban agriculture studies, landscape design and architecture.
My doctoral work was a self-designed interdisciplinary program for which I have worked in philosophy, computer science, communications, cognitive science, and most recently in neuroscience. My doctoral thesis is a website as well as a book project called Being About: Perceiving, Imagining, Representing, Thinking. It is posted in the theory section of my web worksite.
Since coming to Goddard I have been developing a comprehensive vision for the new area of Embodiment Studies. My residency workshops have included sessions on seeing, theory, research, language, writing and embodiment, somatic processing, the unconscious, the cognitive significance of birth, and spirituality and the body. I host an embodiment website to compile material on these topics, and edit a semester magazine featuring student work.
PhD in Interdisciplinary Studies with an emphasis in neurophilosophy, Simon Fraser University; MA in Philosophy, Simon Fraser University; BA with honors in Philosophy, Psychology and English, Queen’s University; Postgraduate Diploma in Film Studies, Slade School of Art.
Residency Sites: Plainfield, VT
The above quote is excerpted from Monica's larger hybrid poetry/prose, text/image project called CLAIM.
Mónica Gomery lives in Boston, MA. She is a 2009 graduate of the BFA in Creative Writing program at Goddard College, and the Drisha Institute Arts Fellowship. Her writing has appeared in Shearsman Magazine, Scythe, Shadowtrain, Word For/Word, and Bridges Journal.
She co-founded and co-edited Never on Time Journal, a community poetry project in Philadelphia. Most recently she is studying ancient languages and learning how to pray, en route to rabbinical school.
Residency Sites: Plainfield, VT , Residency Sites: Port Townsend, WA
For me, art (whether it be the making of objects as in visual art, the shaping of feeling. experience, event into stories or poems, the participation in a musical event and the energy that is created through the structure of sound, the creation of a performance or group celebration) is a way of interacting with the collective and individual energies and thought patterns in a way that brings them into a perceptible form that can be shared with others. It is a way of thinking, of giving form.
My grounding in the arts is primarily through a twenty-five year practice of painting, and now sculpture within the last four years, with experience in theatre, puppet theatre, singing, and creative writing. At this time, I am interested in work that can further awareness of the interconnections of nature and humanity, and reinforce a sense of hope and responsibility for our thought/action in the world. In art, we can see the results of our thought and action in the forms we create. Taking those just a step further, we begin to see the forms of the society and culture within which we live as something in which we not only participate, but also upon which we each individually have an effect.
I have worked with students in a wide array of projects and inquiries, from work in the "traditional" artistic modes (painting, sculpture, dance, performance, installation, film, writing) and various combinations of these, to those which seek to extend the "palette" beyond traditional art materials and elements into new arenas. I enjoy the challenge of finding new "forms" that emerge out of the establishment of a new set of coordinates and of finding ways in which links can be established. In the past few years, my attention has been drawn to environmental health issues and modes of healing. My interests and background also include mythology, medieval studies, gardening, poetry, and Indian cooking.
MA in Aesthetic Philosophy and Painting, Goddard College; BA in Medieval Studies, Indiana University.
Jesse Jacobs is principle at Montpelier Property Management where he oversees a portfolio of rental properties and construction projects in Montpelier and Barre, VT. Jesse’s passionate interest in revitalizing downtown Montpelier led to synergy with Goddard College, many of whose alumni have remained in the State as artists, entrepreneurs, and local business owners. Jesse is currently collaborating with the College and providing free space for Goddard exhibits in vacant storefronts downtown. His knowledge of real estate, architecture, and business will be tremendous assets for Goddard.
Jesse said, “I am really excited about being on the Goddard College Board of Trustees. There are many wonderful possibilities to creatively collaborate to make our capital region as vibrant as possible. Goddard’s location in Plainfield has long been a magnet for creative thinkers and an economic driver. We can reinforce each other’s interests in having a vital local economy that embraces innovative businesses, the arts, sustainable food and more.”
His BA in art history from Vassar College and his interest in architectural design has informed his work in the downtown National Historic District in the capital city of Vermont. In addition to this position, Jesse is the founder and manager of Teal Blue Management, a boutique DJ Management Agency based in Miami Beach, FLA. This group manages, books, furnishes, licenses and contracts DJ service for event and commercial productions, and has worked with top industry executives and labels including Diplo, Major Lazer, Dim Mak, Mad Decent, The Knocks and others. He also founded The Apology Number, a free and confidential telephone
apology service in New York City that has reached 12 million people in the New York region.
Jesse lives in Burlington, VT. His father Jeff is a double alumnus of Goddard.
BA in Art History from Vassar College
Residency Sites: Plainfield, VT , Residency Sites: Port Townsend, WA
I started life in a rather tight, island-nation that thought itself “white,” was translated through various cultures (mostly "Eastern"), and languages, and spent twenty-odd years working in another, sometimes (but not in all ways) even tighter, self-consciously not-white and not-brown, often quaking, island-nation. I’ve spent the past 3 years trying to fit in to US culture/s, first in Arkansas, now in Vermont and owe such learning as I’ve managed to the staff and participants of the ARC Arkansas arts center where I’ve been a volunteer drama and fine arts facilitator. I can't for certain say which culture/language has most blinkered me. I can say, with some authority, that island nations can be as insular as continental versions; and that culture is (but not necessarily inevitably) a prison.
My official "field" is Cultural Studies, and that inefficiently covers ever so many sins: colonial and post-colonial histories, languages, translations, literatures, the invention of Others, of nations, and discourses of development; the influence of economics, sciences, religions on constructs of race, class, sex/gender, abilities, multiculturalism, and discriminations associated with them; the roles of intellectuals in the construction and dissemination of knowledges. . . . I’m delighted to engage with students interested in any of these matters but have recently been rather obsessively pondering (with Goddard students) the possibilities of embodied and subversive research methods and presentation of research that might more effectively help shape a just and equitable society.
I am also passionate about all kinds of art, like fiction and theater (particularly comedy) that peel away cultural layers. I was involved in “social action” theater in Japan for many years, write this and that, and perform when allowed. For the past three years, I’ve been privileged to facilitate improvisational theater classes and direct the annual ARC Arkansas performing arts camp for adults with developmental disabilities who attend camp from various parts of the US. I delight in the complexities and magic of the Goddard learning model, and am reliably determined to join students in facing our academic demons—with humor and growing self-esteem—so we can put our theory into healthy & ethical practice in sensible -- if wild -- ways.
MA in Cultural Studies, Goddard College; BEd with honors in Education, Psychology, and Arts, University of London Institute of Education.
Compliance Publisher, Financial Aid Publisher, Staff
Residency Sites: Plainfield, VT , Residency Sites: Port Townsend, WA
As a teacher of poetry I am most interested in helping students to cultivate the individuality of their voice. Individuality, authenticity, and risk are the three qualities that interest me the most in the work of the writers I read and in the work of the students I advise. I begin each semester by asking students to think about the ways in which they might funnel their passions, obsessions, and what captivates them into their poems. I encourage students to mine the details of the worlds they inhabit and to use these details as one way to lead to the uniqueness of their work. Regarding the development of craft, I once heard an established writer with a long list of books to her name say: Writing is 80% revision. Since hearing this, it has been my #1 writing commandment. It is what I expect of myself and of the students I advise. Regarding reading, I encourage students to read widely and to annotate a significant number of international writers. I believe that reading a multiplicity of literary voices helps us to produce writing that is unpredictable, complex, and full.
I have published two poetry collections, Rhapsody of the Naked Immigrants (Harbor Mountain Press, 2009) and mercy mercy me (University of Wisconsin Press. 2003). I also coedited (with Michael Lassell) the poetry anthology, The World In Us (St. Martin’s Press, 2000). I have won a Lambda award for poetry, an Astraea Emerging Writers Award, and I have also received two poetry fellowships: one from the New York Foundation for the Arts and the other from Virginia Center for the Creative Arts. In addition to my publications, I have worked as a poetry editor for two journals - Bloom and Tarpaulin Sky; the latter of which I still serve in an advisory capacity.
MA in Creative Writing, City College of the City University of New York, BA in Honors/English, Hunter College of the City University of New York.
Residency Sites: Plainfield, VT
I am a New York-based composer, sound/installation artist and electro-multi-instrumentalist. My work is deeply rooted in audio/visual and audio/gestural interactivity, and is influenced by post-Cagean compositional strategies, and the poetic and gestural non-materialism of the Fluxus arts movement. As a performer, my tools are electronically-processed accordion, laptop electronics, acoustic piano, and amplified objects; and my visual materials include objects, video, drawing and photographs.
For the past several years, I have been developing a series of interactive sound/image pieces that are inspired by the structures of Rube Goldberg's circuitous machines, and have been performing these works in both the United States and Europe on an ongoing basis – most recently in May 2008 at the Contemporary Art Museum in Roskilde, Denmark. An important conceptual thread running through these pieces is the discovery and expression of metaphors for the slippage and tension between object and meaning that occurs through the passage of time. As both a sonic and visual artist, I try to build and layer idiosyncratic systems and structures that point to these shifts in meaning.
Other recent projects include the New York premiere this past spring at Roulette Intermedium of ob-jest, the jettisoned: 15 short electronic works for 4 speakers, with a live ensemble featuring Highland bagpipes, cello, amplified objects, and electronically-processed accordion; and the completion of Faulty Objects, an hour-long audio work scored for amplified objects, laptop electronics and accordion feedback. The piece is based on a 10-channel installation work that I presented in New York last year at Diapason Gallery for Sound and Intermedia, and will be released on Important Records in Fall 2008.
One important focus for the past 20 years has been the development of an individual textural and gestural language on my electronically-processed accordion -- which I view as an extended instrument. During this time, I have also explored density, gesture and interactivity with a wide range of electronic instruments, sources and processes-- analog and digital, including: synthesizers, live tape manipulation, analog effects boxes, Foley, samplers, and generative sound processing. I have also recently been working to extend my performative scope through the design of a series of digital controller sculptures to be used with my customized processing software.
All of these explorations have been - and are currently - greatly augmented by ongoing collaborations with many and diverse sonic colleagues. Of critical importance has been my longtime participation in the vital community of musicians in downtown New York City who are committed to the exploration (together) of a wide range of artistic/improvisational/compositional strategies and expression. As a member of this community, which is by now both local and global, I’ve had the opportunity to develop recording and performance projects with artists who challenge me both conceptually and aesthetically: including guitarist Nels Cline, saxophonist Ellery Eskelin, and bagpiper David Watson; and sound artists Anne Wellmer, Stephen Vitiello and Michael J. Schumacher, among many others.
As an educator, I want to support students’ pursuit and articulation of a personal creative vision, and to facilitate their absorption of the range of materials, processes and resources that are available in order to help them achieve this. This is with the recognition that this may at times seem like a risky endeavor – full of experimental moments of “not knowing,” that may or may not lead to a clear creative outcome – yet is indeed a worthwhile process that can provide a vital sense of agency to any artist.
I have taught music improvisation and composition, sound art, and multi-media performance at the college and graduate school level: conducting workshops, classes and master classes at music and art academies in the United States and Europe, including the Integrated Media Program and Music Department at California Institute for the Arts, Mills College, the University of Michigan Music Department, and the Hochschule fur Musik, Karl Maria von Weber in Dresden, Germany. I have also led workshops at artist-run music improvisation schools and collectives in New York City and in Europe.
My work has been supported by grants from Meet the Composer, American Composers Forum and New York State Council on the Arts; and residencies from Harvestworks Media Art Center, New York City; and the Frei und Hanseastadt Hamburg Kulturbehoerde, Germany.
MFA in Visual Arts, Mason Gross School of the Arts, Rutgers University; BFA in Visual Arts, Tufts University; Diploma, School of the Museum of Fine Arts, Boston; 5 Year Certificate, School of the Museum of Fine Arts, Boston.
Residency Sites: Plainfield, VT , Residency Sites: Port Townsend, WA , Residency Sites: Seattle, WA
Theressa Lenear has over 36 years of experience in the early childhood field. In that time, she has worked with many young children in multiple settings in both Alaska and Washington. Her current focus centers on teaching, mentoring and coaching those wishing to strengthen their skills in providing services and resources relevant to the diverse children and families in their communities. She earned her Master of Arts degree in Human Development with a specialization in Bicultural Development from Pacific Oaks College Northwest. She is currently a doctoral student with the Praxis Institute for Early Childhood Education pursuing her degree in Human Development and Social Change. Working in her community is a cultural expectation and a collective responsibility. Theressa co-leads the Teaching Umoja Participatory Action Research 15 Year Commitment with Dr. Cronin in examining ethnic identity, bicultural, cross-cultural and triliteracy development of children of color. This work is a collaborative effort with diverse co-researchers from across the United States and the communities of Port Royal and Moore Town, Jamaica. As a member of the African American Childcare Task Force and the Culturally Relevant Anti-Bias Education Leadership Group, Theressa is actively engaged working with others on issues of equity and social justice.
MA in Human Development/Bicultural Education; BA in Human Development, Pacific Oaks College.
Residency Sites: Plainfield, VT
I was born in England in 1968, to Indian parents, and grew up in a working-class, South-Asian community in Greater London. I came to the U.S. in 1990 and though some of the intervening years were spent in India and England, I have been living in Colorado since 1998.
My interests as a writer have been forged by this history of migration, of coming to understand a border as a site of both transformation and loss. My own work has often crossed borders of different kinds, both in terms of genre and the subjects I am compelled by. For example, as the basis for my first collection, The Vertical Interrogation of Strangers (Kelsey Street Press, 2001), I interviewed women of Indian origin wherever I met them during my travels in Europe, the U.S., and South America. I asked them one or more of twelve questions, such as “Where did you come from/how did you arrive?” and “Who are you and who do you love?” Their responses, as well as my own evolving answers, formed a root document for a work of poetry/prose.
My fascination with hybrid forms has led to a current project, Humanimal: a project for future children, in which I combine three texts, all centered upon what it means to live between/across worlds: a re-telling of the true story of “the wolf-children of Midnapure,” two girls found living with wolves in 1920s India; a memoir of my father’s transformation from an illiterate goatherd, raised in homelessness and poverty, to becoming the first Asian headmaster in the UK; and a section called “On Healing,” in which I interview a variety of people – psychiatrists, refugee workers, and trauma therapists -- on the effects and healing of violence experienced in childhood.
My journey to India to research the story of the wolf-children is recorded in a documentary forthcoming from the France-based Monalisa Production. In completing Humanimal, I found myself re-writing it through the lens of film, of what it was like to walk through a jungle lit by blue paper. This is what writing has always been for me: the encounter of the text with something it has not imagined yet, something from the outside, something that suggests a different way to imagine the world.
Forthcoming prose works, Incubation: a space for monsters (Leon Works) and Water-Damage: A Map of Three Black Days (Corollary Press), are similarly centered upon the figure of the immigrant: what it means to keep going, and what it means to stay.
As a teacher of writing, I have tried to develop spaces in which writing – its extensions and evolutions – feel completely possible. I support my students both in the space before writing begins and at the places where their work approaches some kind of limit, or break, and needs to transform.
As a resource for developing transformative work in all genres, I offer writing experiments and readings from diverse sources – inspired by everything from post-colonial literature to ideas of memory, architecture, and the figure of the stranger. Most of all, I want to know what the work on the page is gesturing towards, whether that is a variation of form, an intensification of the subject or the fibrillatory shift of an existing way of using language.
My passion as a teacher is to support the writers I work with in creating an incredibly rich, complex and unique vocabulary – a tool kit – for what happens when you reach a border of some kind in your writing, or want to find out what it’s like to cross one.
I am core faculty in the Department of Writing and Poetics at Naropa University in Boulder, Colorado. I live in a cottage with my son and an ageing hound called Miss Libby, who formerly lived in Texas. Every morning, I wake up, drink two cups of Earl Grey tea, and write.
MA in English Literature with a minor in Creative Writing, SUNY Brockport; BA with honors in English Literature, Loughborough University, UK.
Friend of Goddard
Will Hamlin taught at Goddard College from 1948 to 2001. He cared deeply about literature, art, education and the natural world, and served Goddard for fifty years in his renaissance fashion.
He was passionate about education and the philosophy of education. Versed in Dewey, Kilpatrick and other luminaries of the progressive education movement, he worked to realize their ideas at Goddard with the students he mentored and taught, as well as other faculty and staff. For decades, he worked as the College’s editor, writing and editing the catalogue, the Goddard Bulletin, and other publications.
Will loved language, and tended to its details and precise usage. He crafted the ideas of Tim Pitkin and his other colleagues into articulate prose that represented their vision in the larger world. When focus at the College sometimes drifted from the ideals of progressive education, Will reminded his colleagues and students – sometimes none too gently – of the importance of Goddard’s mission, and its stewardship of larger principles. We are grateful for his lasting contributions to the College.
Will passed away on August 4, 2009.
Jim Clay is the founder of Regency Pacific, a senior health care company with services in four states, but how this occurred is part of why Regency has had an outstanding reputation and has been an innovator in providing quality of life to the oldest Americans.
A natural athlete, Jim began his professional life as a basketball coach with a philosophy that positive reinforcement developed his players much more completely than the business-as-usual screaming and repetitive drills as punishment for poor performance. When the opportunity came to move into health care administration, his first mentor was a tough nurse who believed the best bosses practiced servant leadership. Her “roll-up-your-sleeves-and-understand-the-challenges” approach is reflected in Regency Pacific’s values statement which hangs front and center in the more than fifty facilities he owns.
When success afforded Jim other opportunities, he did not slow down. His passion for serving those who need a little extra help extended to East Africa where he and his wife founded a secondary school. Knowing little about work in third world countries, he enrolled in Goddard’s Master’s program for sustainable community development. He credits Goddard’s excellent faculty and individualized learning program for the outcomes at both the school and the village, which now has several successful small enterprises and a stable source of food and water. His admiration for what a Goddard education can mean in the world inspires his service as a Goddard trustee.
Jim is married, has seven children, ten grandchildren, five rescued dogs and one very spoiled cat. In addition to his work at Goddard, he also serves on the boards of Project Education Inc., Soysambu Wildlife Conservancy, and Forest Ethics
Residency Sites: Plainfield, VT , Residency Sites: Port Townsend, WA
While I have lived nearly half of my life in New England (the New Hampshire and Maine seacoasts and western Massachusetts) I think of myself as a Southerner. I grew up in Louisville, Kentucky – a pretty amazing place. It’s a large city with the feel of a small town. My family lived just on the edge of a major park system so as a kid I had hundreds of acres of woods, fields and creeks in which to loose myself. As a young girl this gift of ready access to the natural world gave me a remarkably huge amount of space in which to move about and a great launch pad for seeking out independence.
I believe in callings and know that mine is education – broadly defined. I look back over my life and the markers for many of its peaks have been some sort of educational experience. These experiences have shaped my sense of identity, helped me discover my talents, carried me to people I cherish and given meaning to my life. Education has been one of my most significant means of personal and professional transformation. I regard it as an incredible privilege to try to support others in their own journey of self-discovery and impact.
I’ve had a variety of experiences in education. Some of my favorite have come through my roles as the Assistant Director of an Upward Bound program, the Director of Corporate Training for the University of New Hampshire’s Browne Center for Experiential Learning, as a core faculty member with the Antioch New England Department of Organization and Management, the Coordinator of the Social Justice Training Program at UMASS-Amherst, as a trainer with Project Adventure, and as an Outward Bound instructor.
For over 25 years I’ve worked with a wide range of public and private sector organizations as a change agent in the fields of training and organizational development. My broad areas of focus are organizational development/multicultural organizational development; strategic planning; executive leadership, management, and team development; diversity training, and group facilitation. Attention to multiple bottom lines that include thriving and productive organizations and communities, environmental sustainability and ecological justice are an inherent part of this work.
My personal and professional interests in social justice and progressive pedagogy combined with my experience in organizational development and systems change are part of the path that led me to Goddard. My primary interests here fall at the intersection of social responsibility, social entrepreneurship, environmental sustainability, ecological justice and progressive education as a means of personal and societal change.
I live with my partner in Dover, NH. We’ve both got a great affinity for animals – cats and dogs for her; dogs and horses for me. My favorite non-work activities are reading, watching movies, and walking with my dog in the woods.
EdD in Applied Behavioral Science with concentrations in Multicultural Organizational Development and Social Justice Education, University of Massachusetts at Amherst; MST in Education, University of New Hampshire; BA in English and Communications; Secondary Education Teaching Certificate, Saint Louis University.
Residency Sites: Plainfield, VT
Lisa Wells graduated from Goddard's BFA in Creative Writing program in 2012. She is the author of the poetry chapbook BEAST (Bedouin Books, 2012) and a book of essays, Yeah. No. Totally (Perfect Day Publishing, 2011).
Her work has appeared at Omniverse, The Rumpus, The Nervous Breakdown, Coldfront, Plazm Magazine, Ecotone and others. She’s received support from Caldera Arts, the Regional Arts & Culture Council, Hypatia, and the Vermont Studio Center.
Born and raised in Portland, Oregon, she currently lives in Iowa City where she holds a Provost fellowship in poetry at The University of Iowa Writers’ Workshop.
Lisa recently appeared on an episode of Late Night Library. Click here to check it out.
BFA in Creative Writing, Goddard College.
Residency Sites: Plainfield, VT
I interpret my role in Goddard’s student-centered approach to learning as one where I’m both guide and fellow traveler – an ally in intellectual adventure and active exploration. A crucial part of my job is to facilitate the defeat of the self-censor, to help quash that negative inner voice that Schiller called the “watcher at the gates of the mind” that examines ideas too closely, stifling the creative or expressive or investigative process before it can even begin. I try to engage in the MA in Individualized Studies Program's interdisciplinary “conversation” with students in the most progressive way possible – to challenge, encourage and assist in the kind of discovery that leads to creation and then, hopefully, to action. As a civilization, a world, we’re teetering on a highly cliched but quite real precipice and are desperately in need of those startling, creative and activating discoveries if we hope to survive.
I’m a writer, director, performer and activist. For the past four and a half years, my artistic work/life has been connected to Lesotho, southern Africa. Since January 2005, when I arrived on a Fulbright to teach, create and direct in the National University’s Theatre Unit, I’ve been navigating the tricky cultural terrain of the small, mountainous country and making theatre there. Though completely surrounded by South Africa, Lesotho was never under the apartheid regime, so if Westerners have heard of the country at all, it’s because of Bill Clinton and Angelina Jolie, their celebrity appearances prompted by the obscure nation’s astonishing HIV infection rate – the 3rd highest in the world. Lesotho is a country in transition, where the old traditional ways are clashing with globalization’s onslaught and the nation’s rich cultural backbone is splintering under the weight of the growing schism. This stark social dichotomy provided a challenging frame for the evolution of my recent theatre work, an organic “next step” in looking more closely at questions around art and activism and what it means to be both insider and outsider.
My early work in Lesotho was focused on teaching, directing and essentially producing theatre events – some connected contextually to the HIV pandemic, others set in a more purely performative frame. As an outgrowth of that work, the Winter/Summer Institute in Theatre for Development (WSI) was launched in June 2006. WSI is a multicultural collaboration between faculty and students from three continents, and community participants from the rural mountains of Lesotho (www.maketheatre.org). Since 2006, the Institute has challenged participants to create collaborative, issue-based, aesthetically provocative theatre pieces. Our performances thus far have focused on the role of gossip and silence in the spread of HIV; on power, denial and stigma as they influence choices people make in response to the virus; and on examining the rapid spread of HIV through relationship networks involving long-term, concurrent sexual partners.
I’m a returning Goddard faculty member, having taught in the IMA Program from 2001-2005. I’m also a visiting writer in the MFA in Creative Writing Program at Long Island University, Brooklyn; and, since 1993, I’ve been a frequent instructor and project collaborator at the State University of New York’s Empire State College in Manhattan – a program that, like Goddard’s, grew out of the progressive education movement of the 1960s and 70s, and which is currently the U.S. academic base of the Winter/Summer Institute.
As a 2009 Resident Artist at Mabou Mines Theatre in New York City, I’m creating a new piece called Outpost. My work as a playwright and performer has been seen at a variety of NYC venues, including: Dixon Place, HERE, NYU’s Experimental Theatre Wing, the ArcLight, St. Mark's in the Bowery, and the former Circle Rep Lab; as well as at locations throughout Lesotho, and at the Performing Arts Centre of the Free State in Bloemfontein, South Africa. My most recent pre-Africa play, The Law of Falling Bodies, was part of the 3rd Millennium Festival.
Representative Grants/Awards/Affiliations: 2009 Mabou Mines Resident Artist Award, IRT Theatre Residency (2008), Art Matters Individual Artist Award (2007;1990), Jerome Foundation Grant/Lanesboro Residency, James William and Elizabeth Hall Award for Innovation from Empire State College, Money for Women/Barbara Deming Memorial Fund, The Colgate-Palmolive Fund & the Colgate South Africa Fund, The Lotta Crabtree Theatrical Fund, The Jewish Foundation for Education of Women, and The Heidtke Foundation. I’m an Affiliate Artist of the New Georges Theatre Company and a two-time MacDowell Colony Fellow. I’m also a founding/core member of the activist artists’ group Mouths Wide Open.
- As a 2009 Residency Artist at Mabou Mines Theatre in New York, I’ll be creating a new, collaborative theatre piece, Outpost, which goes up the end of May
- March 2009: The Winter/Summer Institute offered a 3 day Residency in New York City, with an opening event on Friday March 6th co-hosted by The Brecht Forum
- September 2008: Through a residency at the IRT Theatre in New York, I work-shopped Excavation, a collaborative performance piece about the brain and memory.
MFA in Creative Writing, Goddard College; BA in Theatre and Performance Studies, State University of New York.
David A. Frisby III
Residency Sites: Plainfield, VT
Coordinator, Community Education Concentration
I spent sixteen years as Dean of Antioch University's Philadelphia Center, overseeing programs in education and human services for working adults. Earlier in my career I worked as an elementary and special education teacher before entering the mental health field. I have worked with a clinical team in a Residential Treatment Hospital for emotionally disturbed children, which was affiliated with the University of Pennsylvania. I was a member of the staff to develop the first Community Mental Health Center in this country at Hahnemann Medical College and Hospital in Philadelphia, Pennsylvania.
My work in the field of Human Development has led to a very active role with advocacy and direct service organizations. I have chaired the Board of Directors of the Education and Center of New Jersey and the Education and Law Center of Pennsylvania, a board on which I continue to serve actively. I have also chaired the Board of North City Congress of Philadelphia, a direct service organization for Senior Citizens that I have been involved with since 1976.
I am interested in education as an empowerment process for adult learners, particularly in regard to urban education and minority issues. This is my second professional association with Goddard. In the past, I worked with Goddard undergraduate students who held field placements in innovative public school projects and human service agencies in Philadelphia.
<p>PhD in Psychology/Human Development, Union Institute; BS in Elementary Education/Special Education, Cheyney State College.</p>
At a moment in time when hope appears but in distant horizons and compassion is held at close watch, it seems tantamount that we nurture a bond between the heart and mind to resist fatigue and pessimism. That being said, I feel an urgency to realize spaces that restores balance to fragmentation and disconnect; spaces that are tolerant, non violent, and kind. Within these spaces, I imagine great possibility; to restore and excite the mind and impassion the heart with question and concern.
To this end, I come with openness and encouragement. I am completely passionate about fueling a cannon that populates the world with spirited citizens who step forward without reserve to challenge complacency, hypocrisy and mediocrity.
I will draw upon the multiplicity of my lived experience to embark on a path as we breathe, think, live, and make with curiosity. I believe that there is unmeasured value in listening with intent and working without purpose. I am interested in every process and every mode of construction when coupled with thoughtfulness and care. I imagine no formulaic solutions when seeking clarity or resolve.
As a multi-disciplinary visual artist, educator, woman, friend, elder and mother, my world is diverse, expansive, ever shifting, and unstable. Perhaps it is a result of my history of immigration and migration that allows me to embrace instability as a normative state.
Having spent much of my life longing to (be)long, I have constructed a practice around alterity that seeks to refute conventional paradigms to make way for alternative modes of affirmation.
My art practice is multidisciplinary, often site-specific, experiential and at times theatrical. My treatment of materials is directed by a culmination of Western theory and Asian sensibilities that manifests in tension, and strange juxtapositions. There has always been a resonance of the tactile and ephemeral in my process. In recent years, the challenge to retain these sensibilities while creating works that withstands the rigors of public spaces has brought me to my current consideration of sound and performance work.
In closing, I have had an unquenchable thirst for connectivity to peoples and bodies of knowledge that work in tandem to mobilize wellness for humanity and in that vain, I assert the right to play, stumble, fail, laugh, cook, trust, sing, love, share, and celebrate.
MFA in Sculpture, Concordia University; BFA in Sculpture, Concordia University.
Crystal Zevon is the author of I'll Sleep When I'm Dead: The Dirty Life and Times of Warren Zevon (Ecco, 2007), an oral history of the life of her former husband and lifelong friend and co-conspirator, has been widely acclaimed by critics across the country.
Crystal started writing her first novel when she was 9 years old, inspired by her grandmother's tales of how her family traveled in a covered wagon. She has written all her life and has file cabinets full of unpublished manuscripts. She set aside her aspirations to become an author when she met Warren Zevon in 1970. When her marriage failed in 1979, she devoted herself to mothering their daughter, Ariel, and to political activism around issues of human rights, environmental concerns and media bias. Later, she counseled disenfranchised youth through the criminal justice and school systems.
In the late 1980s, she began writing screenplays and has one film credit, "My Little Assassin," based on the story of a mistress of Castro who was recruited by the CIA to assassinate him.
Crystal lives in Barre, Vermont near her only daughter, Ariel, and her twin grandsons, Max and Gus. She shares her daughter's passion to promote local foods and local economy.
Crystal Zevon graduated from Goddard's MFA in Creative Writing program in 1996.
Residency Sites: Plainfield, VT , Residency Sites: Port Townsend, WA
Over and over again I’ve been led to the water’s edge. To thinking about the relationships between history, language and location. To what lies in the space between what is articulated by tongue and mind and that which is felt in the gut. I have been thinking about how history, even events prior to one’s own birth, has an impact upon our lives and affect who we are. How we live and breathe. Speak or not. Whisper or sing. Self consciously blurt or ceaselessly ramble. How history affects one’s relationship to language. One’s understanding and relationship to others and to oneself … and how all this, affects not only the work one produces but ‘how’ one builds. Although I grew up on a potato farm in South Eastern Alberta (in Canada), my adult life has been spent back and forth across the country living in Montreal, then Calgary, back to Montreal, and eventually to Vancouver, near where my grandparents lived prior to the Second World War (the fishing village of Steveston, B.C.). This is where Ojiichan (my grandfather) fished and built fishing boats, Obaachan (my grandmother) worked in the cannery and tended her chirashi perennial garden, and where they raised their family before their forced removal from their home and community; before they were sent as laborers to a sugar beet farm near a French speaking town in Manitoba. It was there on the west coast that I really began reconsidering my own relationship to water, having first learned about mizu out there on the prairies. I have been trying to understand this complex space where water meets land meets water meets land meets water … I am interested in spaces between and in discovering what might be experienced and understood in these relational spaces. If you asked me to describe myself, I might say I'm a visual artist and writer who's practice involves installations, page and bookworks, performance, video and sound pieces, collaborations, and ongoing projects of gathering and dispersal. Or I might respond by saying that I was a taiko drummer when I lived in Montreal; that I used to dream of being a pool shark or a country singer; that I love the color red; that I often feel the significance of the seemingly insignificant; that I am learning to self heal, remembering how to self heal; and that I deeply believe that learning and healing are ongoing, life long processes. I might tell you that I taught at the Emily Carr Institute of Art and Design in Vancouver, at Concordia University in Montreal, and at the University of Calgary in Calgary. Then again, I might respond by simply saying I love the Rockies; that I still feel a close connection to Montreal; that I eventually grew to feel at home in Vancouver; that I currently live in Washington, D.C.; or that I still consider myself a prairie farm kid. Then again, I might tell you about the time when …
MFA in Studio Arts, Concordia University; BFA in Art, University of Calgary.
Faculty Publisher, Staff
AJ Russo (BA '88-'89) spent time in the Institute for Social Ecology (ISE) summer program at Goddard College, and now works as a freelance editorial and motion graphics producer in Brooklyn, New York.
AJ recently produced, with director Dennis Trainor, "American Autumn: An OccuDoc," a full-length feature documentary about the Occupy movement.
"It was a fantastic experience for me as a filmmaker and also as an old progressive," says AJ.
AJ is also finishing up the graphics package for a short documentary with Pakistan-born independent journalist Madiha Tahir.
As a trumpeter, composer, arranger and band leader, multi-instrumentalist Brian Boyes (BA RUP '95, MA EDU '11) has worked in Vermont for the past 18 years. As a member of a variety of award wining ensembles including the national touring jazz-funk act, viperHouse, he has been recognized for his soulful and intense approach to his trumpet.
Under his leadership the group TALA was recognized internationally for its hybrid blend of world music and jazz. Tala was a featured act of both the Flynn Space Vermont Artist Series and the Discover Jazz Festival. He also works with The 35th Parallel Mediterrasian Jazz Ensemble.
As an educator, Brian Boyes has twice received special recognition from the Vermont Alliance for Arts Education for his unique and creative approach to music education at Cabot School.
He has shared the stage with artists such as Lester Bowie, Trey Anastasio, John Sinclair, Jody Diamond, Josh Roseman, Michael Ray, and Marshall Allen. He currently co-leads and plays trumpet with Movement Of The People: The Fela Kuti Project.
Brian holds two degrees from Goddard College: BA in Music Performance & Composition (minor in Ethnomusicology); MA in Education (Infusing Performing Arts into Project Based Learning).
In December of 2012, Brian came back to Goddard leading the Saturn People's Sound Collective in concert as the featured alumni spotlight for the Goddard College/WGDR Concert Series. Scroll below to watch the video. The concert was a hit, and since then, Saturn People's have moved on to bigger venues such as the 2013 Burlington Discover Jazz Festival with a June 4th show at the Flynn Space.
Read an excerpt from Brian's blog all about his experience at Goddard and his new band, the Saturn People's Sound Collective, below:
"Nearly 20 years ago, I arrived in Plainfield reeling from the confines of the music conservatory experience. Convinced that I was done with music for good, he landed into the free-form unknown of Goddard College.
"Despite my best intentions to avoid music, I was instantly drawn to Don Glasgo’s Jazz Workshop group study where I was introduced to Sun Ra for the first time. Despite my having come up in Philadelphia just a few miles from the Arkestra’s Germantown home I had never heard of Sun Ra and knew nothing of the joyful noise regularly created by his creative music Arkestra for over 25 years. Through Don’s gentle and subtle tutelage, I was able to shed the notions of “right and wrong” in music.
"It was in the basement of the Goddard College music building and on the stage of the Haybarn Theatre that I was able to decipher my own musical voice and know that it was okay to do so.
"Life seems to be about full
circles spirals. Exactly 20 years later I am honored to have my new 20-piece musical project, The Saturn People’s Sound Collective premiere Goddard College’s latest artistic incubator - Goddard College Concert’s The Local Spotlight. Once again Goddard seems to be the creative catalyst furthering and supporting my musical path."
December 7, 2012 Concert at the Haybarn Theatre:
Hameed S. Williams
Residency Sites: Plainfield, VT
Since being initiated into a priesthood of Khemet (ancient Egypt) at the age of fourteen, I am called by the name Herukhuti (pronounced heh-ROO-koo-TEE). I am a critical theorist and philosopher, social and cultural scientist, sexologist, cultural worker, shaman, artist, author, and transformative education scholar-practitioner. For me, education--at its best--is a liberatory practice. It is the cultivation of human potential for personal and community development. As an educator, my role is to hold sacred space for mystery, the miraculous, and meaning to unfold. I believe when they unfold, learning occurs for all involved. Oftentimes in the West (United States, Canada, Western Europe, and Australia) we think of such learning as sweet, polite, clean, manicured, and polished. Because of my background in African ritual, I have come to know that mystery, the miraculous, and meaning can often appear ugly, smell funky, and sound profane. I invite and appreciate multiple forms of learning into my learning environments. To that end, I am currently involved in two epistemological movements: Decolonizing and Reconstructing Epistemologies, Methodologies, and Practices (DRE) & Afrocentric, Decolonizing Queer Theory (ADQT). DRE is a framework for the work of scholar-practitioners that is guided by principles of social and ecological justice as well as a deep appreciation of Indigenous knowledge and wisdom. ADQT is a way of understanding how Blackness and queerness are culturally, spiritually, and sexually interconnected as sources of liberatory power. In 1998, I founded Black Funk: The Center for Culture, Sexuality, and Spiritual, a sexual cultural center dedicated to providing a space for the exhibition and exploration of sensual awareness, sexual consciousness, erotic power, and pleasure. Black Funk is a gathering place for sexually liberated people of color to express themselves and enjoy erotic events, demonstrations, and sexuality-related classes. In 2004, Black Funk launched the popular, provocative web site http://www.blackfunk.org, providing users with an online source for news, information, and community on topics related to culture, sexuality, and spirituality from a conscious, funky perspective. I am also a former high school teacher and youth theatre director. I taught humanities/social studies and theatre at the School of the Future, New York City in the mid-late 90s. My theatrical work with students led to productions at the first New York International Fringe Theatre Festival. I have been writing poetry for about twenty years and stage plays and social/cultural criticism for the last 10 years. My writing has appeared in Ma-Ka: Diasporic Juks:Contemporary Writings by Queers of African Descent; African Voices; Women In The Life: The Premier Lesbian Website and Monthly; and Think Again, as well as in various academic journals and publications including Sexualities; Journal of Bisexuality; Innovations in Transformative Learning: Space, Culture, and the Arts; and Blackberries and Redbones: Critical Articulations of Black Hair/Body Politics in Africana Communities. My first book, Conjuring Black Funk: Notes on Culture, Sexuality, and Spirituality, Volume I (Vintage Entity Press), a fiery collection of essays, poetry, and experimental writing, has been used in colleges and universities across the country. As an organic intellectual in the Gramscian sense, my research and teaching interests include: embodiment and consciousness; (queer) phenomenology; African culture, cosmology, ritual, and spirituality; Trickster mythology; Diasporic studies; sex and sexuality; sexual scripts theory; “the uses of the erotic as power;” bondage, discipline, domination, submission, sadism, and masochism (BDSM); culturally-relevant HIV education; chaos theory and complexity; cultural studies; human development; social change; Black youth activism of the 1960s; Black Feminist Thought; Afrocentric Thought; Black Queer Theory; performance and performativity; Theatre of the Oppressed; European male supremacy and European cultural hegemony; epistemology; qualitative research methods (particularly narrative inquiry, ethnographic inquiry, interviewing, and focus group); participatory action research and collaborative inquiry; Indigenous Knowledge Studies; Afrocentric Decolonizing Queer Theory; and Decolonizing and Reconstructing Epistemologies, Methodologies, and Practices; organization development; and systems thinking.
While those are my immediate interests, I am intrigued by opportunities to work with students in areas for which I have a limited background but which provide great co-learning experiences. I enjoy serving as companion and critical friend to students working on areas that are unfamiliar to both of us. I was initiated into the Shrine of Amen Ra at the age of 14 by Khafra Ndongo Amen, I studied Mdu Neter (hieroglyphics), Khemet cosmology and mysticism, Tai Chi Chuan, Chi Gong, and Hatha Yoga as well as mysticism with the late Sufi master Genghis Nor and Dagara shamanism and cosmology with Dr. Malidoma Somè.
PhD and MA in Human and Organizational Systems with a concentration in Transformative Learning for Social Justice and specializations in Sexuality and Cross-Cultural Studies of Knowledge Systems, Fielding Graduate University; MEd in Curriculum and Instruction with a specialization in Conflict Resolution and Peaceable Schools, Lesley University; BA in Political Science and Psychology, University of Southern California.
Chris Pratt, sole proprietor of Open Sash, has 40 years of building experience in construction, cabinetmaking and furniture making. He recently spent three years specializing in window “problems” in Portland, Oregon.
In the last three years he has developed a solution to add glass to old windows and has perfected a unique technique (the only person who does it to his knowledge) that preserves the original window, is energy efficient, and cost effective.
In 2009, Chris moved back to East Montpelier, Vermont and started Open Sash. Since then he has retrofitted hundreds of windows on many different houses throughout the northeast and Washington, D.C.
His latest addition to the field of energy retrofitting is the creation of a mobile window wagon to work on site and make the process of window retrofits even more cost effective and convenient.
In the future, Chris thinks window wagons and energy retrofits will take the place of replacement windows and the lost art of window repair and restoration will come back with all the improvements and cost saving advantages of newer technology.
Yale University; Middlebury College
I focused on playwriting, and had a truly amazing experience. When they told me it would be life changing, I was skeptical, but it was just that. I got an amazing amount of attention and feedback from my advisors. I emerged with a full vision of the kind of writer I wanted to be. I graduated from Harvard College, but I learned more at Goddard than I ever did there. It’s an amazing model of education and it works.
Kiara Brinkman graduated from Goddard’s low residency MFA in Creative Writing program in 2006. Her first novel, Up High in the Trees (Grove Press, July 2007) has been called “a very moving and perfectly convincing portrait of the inner life of an unusual boy” by Dave Eggers; Maud Casey calls it “a hauntingly beautiful debut; a stunner.”
The novel has earned raves from the Washington Post and The New York Times; it has been chosen as a Borders Original Voices Pick and a Barnes and Noble Discover Great New Writers Pick.
Brinkman says that her time at Goddard College was an important part of the creation of the novel: “At Goddard I gained the confidence I needed to make writing a top priority in my life, and I established the necessary momentum to get into a rhythm and move forward with my work. My advisors were encouraging and my peers were supportive, and at a certain point, I realized that I was doing exactly what I wanted to be doing—I was writing a novel and feeling good about it, and no matter what, I was going to finish. I also learned how to be productive. I figured out a writing schedule that works for me, which I think is a big part of the struggle, learning when and how long to sit in front of the computer— which is different for every writer.”
Read her Interview: Kiara Birkman talks about her time at Goddard, the success of her first novel, and her life as a writer in an interview with faculty member Jeanne Mackin.
Christian Peet is the author of The Nines (Palm Press, 2006), Big American Trip (Shearsman Books, 2009) and of the forthcoming No Evidence, No Jury, No Justice: The True Story of Jeremy Barney (GenPop Books, 2012). Peet is Founder and Editor in-Chief of Tarpaulin Sky Press & Online Journal. He taught Poetry and Creative Writing at Brooklyn College & Hunter College (CUNY) from 2004-06.
Registrar Manager, Staff
Nagueyalti Warren came to Goddard College's low-residency MFA in Creative Writing program in the summer of 2003, wanting to complete a novel and to improve her ability to write poetry. Having worked for 15 years as an educator and administrator (assistant and associate dean) in a research university in the South, Ms. Warren writes, “To become a better writer and complete two creative projects was always my goal—not the acquisition of another degree. Fortunately, I was able to do both—the projects and the degree.”
A Cave Canem fellow, Ms. Warren has published her poetry in Essence, Gathering Ground Tenth Anniversary Anthology, Obsidian II and The African American Review. Her manuscript, Margaret (circa 1834-1858), which was completed at Goddard, recently won the Naomi Long Madgett Poetry Prize, with publication by Lotus Press. Her appointment to the core faculty in African American Studies at Emory University took place Fall 2005.
Residency Sites: Plainfield, VT
After 38 years in law enforcement, came to Goddard to study film, but his focus shifted during his first residency.
Calyb Hare is the Assistant Field Manager of vegetable operations Drumlin Farm, a Massachusetts Audubon nonprofit, educational farm in Lincoln, MA. He is fanatical about local food and spends his days cultivating his relationship with the land and people of his community. His duties include plant and soil health, educating interns and summer day campers, and collaborating with restaurant owners, chefs and CSA members on vegetable distribution and sales and farm to table education.
As the Student Trustee to the Goddard Board of Trustees, he is also a full-time student at Goddard College in the Individualized Bachelor of Arts program in Plainfield, VT. He is in his third year with Goddard and is beginning his senior thesis on democracy in education. He is passionate about Goddard and hopes his place on the Board of Trustees will give him the opportunity to support the College by being active in board fundraising and enrollment efforts and in helping to develop student leadership practices.
As a Goddard enthusiast, Calyb is already preparing himself for a graduate degree in Education at the Plainfield campus.
Residency Sites: Plainfield, VT
In her memoir, A Sketch of the Past, Virginia Woolf insists that making art means dropping into a collective mind-stream. “Shakespeare’s Hamlet, or a Beethoven Quartet,” she says, are some truth about who we are. “But there is no Shakespeare,” she adds, “there is no Beethoven. Certainly and emphatically there is no God. We are the words; we are the music; we are the thing itself.” Though I am writing down these words from memory (and so might not have them quite right), they still resonate deeply with me.
I have always been engaged with artistic processes, collaborations, communal creations like the ancient Japanese poetic form called Renga that involve interconnecting minds rather than individuals, and evolving thought that belongs to everyone. I don’t think of art as precious or self-contained, and like to practice myself through a myriad of distractions. Just now, at my daughter’s gymnastics practice, there is a little boy with a screeching tyrannosaurus rex. I am half-paying attention to the way his imagination is working with his new toy, because, and I mean this to sound at once whimsical and grounded: there might be something there for me. As a practicing Buddhist, I do not wait for a mat to meditate: my whole day (doing the dishes, thinking through a question my son asks before answering, talking to an angry colleague, watching, again, that particular quality of light in the late afternoon in Prospect Park) is a meditation; and when it comes to making art, I similarly crave or need contemplative space rather than solitude. This means that children might be gazing over my shoulder at the poem I am writing and also asking me questions about it, some of which will invariably work their way into the poem. I am after a quality of attention and alertness that is involved with and part of a community, that acknowledges the importance of public undertakings.
Also, I have faith always that the next thing that pops into my head will lead me somewhere worth going to. I tend to follow threads without judgment, without worrying about whether or not they are “important.” And I have never thought of my own practice in poetry and other forms of writing, or glassblowing or singing or performing as separate from the other engagements in my life, among them family, community practice and activism.
My creative life has always taken place at the intersection of social activism. When I was a graduate student in a doctoral program in literature I also worked full-time directing an HIV/AIDS project in New Jersey. This “job” naturally found its way into my dissertation, my poetry and my teaching, and also started me thinking about a life in which love, a “profession” and art did not compete with one another for my attention, but were part and parcel of the same thing. “Let the beauty we love be what we do,” Rumi says.
I am interested in any medium that carries wisdom. I am currently also teaching at Brown University, the Rhode Island School of Design, and conduct workshops on poetry and community practice as often as I can elsewhere. Recent publications include poems in Logolalia, a chapter on the poet, Kevin Young, in American Poets in the 21st Century: The New Poetics (Wesleyan University Press), and an essay on art and ecology in the environmental journal, Watershed.
PhD in Literature, Rutgers University; MA in Literature, Rutgers University; AB in English, University of California, Berkeley.
Residency Sites: Plainfield, VT
My work has been in my writing, with teaching as an outgrowth of my writing concerns. I have written twenty-five books of both fiction and non-fiction. I would characterize most of my fiction, which includes six novels and a collection of short stories, as literary fantasy. Unquenchable Fire won the Arthur C. Clarke Award in Britain, while Godmother Night won the World Fantasy Award. Though my non-fiction books have included work on such areas as Stone Age religion (The Body of the Goddess), most of my non-fiction has centered on the symbolic interpretation of Tarot cards, a subject much bigger than the popular image of fortune-telling. As well as creating my own deck, with images inspired by prehistoric art, I have written general books and books on specific decks, such as Salvador Dali’s Tarot. What unites my fiction and non-fiction is the exploration of imagination as the ground of creation. My books have appeared all over the world, in nine languages. My earliest teaching was writing and literature at the State University of New York at Plattsburgh. Since then, however, I have taught many workshops on Tarot in the U.S., Canada, and Europe, as well as occasional writing seminars, including a two year class on myth and creative imagery in Amsterdam, the Netherlands.
My approach to writing begins with each student’s goals. Against the familiar dictum to “write what you know best,” I advise people to write what they care about most deeply. From this beginning point I work closely with each person to strip away whatever is sloppy, received wisdom, lazy, or a disguise of what the writer really needs to say. I encourage writers to think through what they are doing, to write passionately but question themselves in revision, and to get to the core of their own style and make it work for them. For more information, visit my web site Rachel Pollack.
MA in English Literature, Claremont Graduate School; BA with honors in English Literature, New York University.
Maggie Cleveland Her studies in the Individualized Bachelor of Arts (IBA) program centered around writing, social justice, and social policy, culminating in the publication of The Kids Ate My Homework: A New Bedford (Massachusetts) Area Resource Guide for Adult Students with Children (2008).
After graduating from Goddard in 2008, Maggie returned to the Board as an at-large member. She took a year off from school to consider graduate work in a variety of practical areas, but despite the sideways looks given to her by members of her extended family, couldn’t stop herself from coming back to Goddard to immerse herself in the study of poetry. She was blissfully happy when she received an MFA in Creative Writing in 2011. Recently, Maggie’s poems have been published in qarrtsiluni, the Newport Review, Amerarcana: A Bird & Beckett Review, Out of Our, Flying Fish, Elephant, Wallet Scrap, and …like this.
Maggie lives in a house full of cats and children in the seacoast town of Fairhaven, Massachusetts. When she’s not furiously scribbling odd verses in the attic or organizing poetry readings in her community, she works as a writer for the National Elevator Industry Educational Program.
Compliance Publisher, Staff
Kristen Ringman is a 2008 graduate of the MFA in Creative Writing (MFAW) program. She is a deaf writer and poet currently working on an urban fantasy novel about a shapeshifting wolf girl who is destined to keep the balance between stories and reality. Her first novel, Makara, was published by Handtype Press in November of 2012.
Her poetry, fiction, and non-fiction have been published in various anthologies and literary journals. She has a passion for teaching experimental poetry classes that incorporate the natural world around us, other forms of art, and yoga. In 2011, she was awarded the Kenny Fries Fellowship to AROHO (A Room of Her Own) Women’s Writing Retreat at Ghost Ranch, NM.
Kristen is also a Visual Artist, Reiki Practitioner, and Kid’s Yoga Teacher (certified by ChildLight Yoga in Dover, NH). When she is not writing or teaching creative writing, she enjoys sailing, painting murals, barefoot long distance running, photography, meditation, Homeschooling, vegetarian cooking, caring for stray dogs, hiking, caving, and experiencing other cultures first hand.
Kristen has lived in India, Kenya, and Ireland, and has traveled through other countries of Central America, Europe, and Africa. She spent 2009-11 living on a cruising 36′ monohull sailboat named Serenity, and then a 38′ trimaran called No Smoking. She sailed her trimaran between Block Island, RI and Key West, FL. She currently lives in the seacoast area of New Hampshire and dreams of owning a Wharram catamaran and sailing it around the world with her family and current Hearing dog in training, Yemaya.
Sebastian Marino is hereditary chief of Hatohobei State, a small island and a coral reef in the West Pacific Republic of Palau. He has been working with his community to develop a shared vision for the Helen Reef Conservation Area - the largest marine conservation area in Palau. His Goddard MA in Individualized Studies thesis examined the importance of indigenous conservation knowledge and described the process he used to build this community vision. The results of this project now serve as a road map for his community's work to protect the reef.
Watch Marino on Climate Change TV!
As an older student I was hesitant to return to school but my experience at Goddard in the Health Arts and Sciences Program was a gift where I felt both understood and nurtured in the process. I focused my studies on what I know and love; dance movement therapy and spirituality. With the guidance of faculty mentors I was able to use my own experience as a foundation to create a rigorous academic plan that fit my learning style. My Goddard experience was rewarding and empowering. It helped me to rediscover my confidence and feel accepted in an academic setting. I look forward to chatting with perspective students, over the phone or over a cup of coffee.
Residency Sites: Plainfield, VT
I’ve lived in Australia, Canada, China, Ecuador, England, India, and the United States. The communities in all of these places have taught and shaped me. I started writing fiction in the early nineties in a correspondence program in Toronto – I believe the first of its kind in the country. Over the years, I’ve learned, and I continue to learn how to recognize the seeds of a project and know that it’s growing. I’ve learned over and over that you have to believe in yourself first and foremost at the start of every single creative project in order to be able to pull it out of the air and sustain it from beginning through to the middle and on to the end. Persistence is what it’s all about.
Conflict, struggle, and pain are central to creative writing, as they are in life. But through these things we are able to see joy more clearly. By showing us disconnections, we see desires, hopes, and connections – this is the stuff of writing. Fiction and Creative Nonfiction are my greatest literary loves. Together, we can look at what these genres borrow from each other and how they are fundamentally different.
I look forward to developing your goals with you, goals that are relevant to your life, and making your study a positive, rich, and passionate experience. Together, we will nurture the seeds of your writing project and take it through the stages of its growth. We will read and write hard together, and we’ll focus on elements of craft to help get your work to the place you want it to be. Writing is process, and I’ll strive to make revision feel a natural part of that process.
I teach and write fiction (from short-shorts to short stories and novels) and creative nonfiction (including memoir, personal essay, travel, and ethnographic writing). My job is to touch your broadest human aspirations, and also to be a part of your conversation about how your writing connects with the bigger world around you. I enjoy working with other writers to find the best ways we can do that.
I’ve published short stories, personal essays, travel writing, and scholarship that focuses on gender and media from a global perspective. My documentary film, about women in China, aired nationally in Canada, and won the REEL Women’s Film Festival Award for International Development. I’m currently working on a novel set in India in 1857 about two empowered women – voices that for the most part are not in our history textbooks. Right now, I’m concerned with the writer’s role in making the past active in the present and how we can contribute to future visions. My passions include the short story form, from both global and American perspectives, and ethnographic writing that serves as communication for positive intercultural exchange. I am interested in human rights, global development, and gender issues. Can we slough off our cultures to reach universals in human experience? I think this is at the heart of all my writing.
Again, I look forward to hearing about what’s important to you, through your unique voice on the page.
PhD in English (Creative Writing / Fiction), Florida State University; MA in Interdisciplinary (focus on Global Studies and Creative Nonfiction), University of Iowa; BA in English and History, University of Toronto.
Dr. Mario Borunda currently serves as dean of the School of Educational Leadership & Change (ELC) at Fielding Graduate University in Santa Barbara, California. He earned his doctorate degree from Harvard Graduate School of Education in 1992, his master’s from Boston University, and his undergraduate degree from Whittier College.
Before joining Fielding Graduate University, Dr. Borunda held dean positions at the School of Education (SOE) at Lesley University, and at the Graduate School at Wheelock College, both in Massachusetts. At Lesley, he shaped the direction of an institution with 11 degree programs in Massachusetts, and five programs in over 100 sites across 22 states, with a nation-wide enrollment of 3,000. He tripled enrollment in the PhD program, oversaw a budget of over 32 million dollars, and helped Lesley obtain a gift of 10 million dollars to its School of Education—the largest in the university’s history.
Before his appointment to Wheelock College, Dr. Borunda served as special assistant to the president of Harvard University, where he was a policy analyst and wrote reports on faculty employment rates of women and minorities in higher education.
Dr. Borunda served as vice president and director at Isaacson Miller, Boston’s largest diversified retained executive search firm, which managed the search and selection of some of the most important educational positions in the country, including the dean of Columbia Teachers College and the president of the National Board of Teaching Standards.
Throughout his career, Dr. Borunda established and maintained strong connections to educational partners, state agencies, schools, and school districts. He was appointed by Governor Patrick to serve on the Massachusetts Board of Higher Education. Dr. Borunda has served on several boards, including the Board of Elementary and Secondary Education (DESE), the Board of the Reading Recovery Council of North America, and the Board of MathPower, a nonprofit organization inspired by the work of civil rights activist Robert Moses.
Dr. Borunda served as vice president and director at Isaacson Miller, Boston’s largest diversified retained executive search firm, which managed, the search and selection of some of the most important educational positions in the country, including the dean of Columbia’s Teachers College and the president of the National Board of Teaching Standards.
Dr. Borunda obtained his doctorate in administration, planning, and social policy at Harvard Graduate School of Education, completing his thesis entitled “The Emerging Hispanic College.” At Harvard he was chair of the editorial board for the Harvard Educational Review, founder of the Center for Urban and Minority Education, and chair of the Minority Advisory Committee. At Boston University, he obtained his master’s in human development and education. After obtaining his bachelor of arts in biology at Whittier College in Southern California, Dr. Borunda earned his teaching credential at the University of California, Irvine. Before pursuing his advanced degrees, he served as an elementary and middle school teacher in underserved schools in southeast Los Angeles and Orange County.
Dr. Borunda has led a life committed to diversity, inclusion, and social justice, and brings extensive leadership and management experience from all segments of education. He was a first-generation college student, growing up in inner-city Los Angeles and speaking only Spanish until kindergarten. Dr. Borunda states that he has always been “keenly aware of the strengths, advantages, and disadvantages of living in a diverse and multicultural community.”
Dr. Borunda has a passion for working with a team toward fulfilling its mission, and he works hard “to foster a team-learning atmosphere that can leverage everyone’s strength and talents in building a well-run university that appears effortless in serving the students and its university partners. “
<p>Ed.D., Harvard University</p>
Shortly after graduation, I was telling an acquaintance about the low-residency Goddard program. “Oh, a distance program,” she remarked, with some disdain. I continued on, saying that in the Goddard program, I spent more face-to-face time with faculty than in a traditional classroom-based program and experienced deeper and more meaningful dialogue than I had with faculty in the classroom. And in the end, my learning in the MFA-IA Program turned out to be the most valuable learning experience in my life. Living in Tucson in 2004, I applied to the program in response to a lack of fulfillment in my art practice. In this practice, I created visual art and exhibited it in juried exhibitions in the U.S. While my resume was getting longer, my heart was getting smaller. I’ll never forget the day that I received a letter of acceptance from the Program Director. Elated, I then proceeded to calculate the total cost of enrollment in five semesters. Fortunately, I had the wisdom to step through the fear of the financial burden and to go off to my first residency. Later, I realized that my fear was not so much about the cost, but about the fear of opening up to new perspectives, about the fear of letting go of my established way of making art. With each succeeding semester, I opened my eyes more and more to myself and the world around me. Now I see how my close relationships with faculty and fellow students made this possible. Today I continue to practice art in Tucson—now with an open heart. It’s a practice that invites others to participate in the creation of art. Increasing self-understanding in me and in others leads to greater openness and lessens the gap between self and other. I no longer care how long my resume is. I do care that my art practice is of service to others. Please call or email me and I would be delighted to tell you more about Goddard and answer your questions.
My experiences in teaching span from the early years, elementary, middle, and high schools, to college and university. This includes public and private settings plus a stint as a de-schooling parent. My teaching and research interests include reflective practice, applied philosophy, the notion of emancipatory relationships, and the radical potential of care. I have been a faculty member at Goddard College since 1990. At Seneca College, I teach courses in curriculum theory, interpersonal communication, philosophy of education, and anti-bias education. My personal interests lie in health and fitness. I am a certified Spinning instructor and personal trainer. I am always interested in pushing the envelope with my fitness and my learning and have recently addressed both by learning various kinds of dance. I am a volunteer coach and I am a board member at a progressive school in Toronto. I am the mother of two daughters and realize that parenting is, for me, a place where one can accomplish far-reaching, radical feats.
EdD in Curriculum, Teaching, and Learning, OISE-University of Toronto; MA in Women’s Studies and Psychology, Goddard College; BA in Education and Psychology, Goddard College.
Residency Sites: Plainfield, VT
Sustainability has become the focus of my life and grows out of a lifetime of living simply in close relationship with the natural world and seeing the increasing impacts we are having on the earth. I grew up in a family of gardeners and have been growing food organically all my life. I first became involved in student directed learning when I homeschooled my two children K-12 and helped them to design their own studies. I joined the Goddard faculty in 1997 and am grateful to be part of the Goddard community and to work with students in a range of areas informed by my background.
In thirty years of off grid homesteading in Vermont, I learned about sustainable agriculture and local food systems, green building, renewable energy and energy efficiency, ecological economics, climate change, and in general how we can restore our relationship with the earth and build the resilience we need in order to live on the planet we are changing. At Goddard, I developed the proposal for the BA in Sustainability Program based on student interests, I bring speakers like Bill McKibben, Frances Moore Lappe, and Jack Lazor to the college and take students on trips to local farms, and I manage the Goddard weekly sustainability listserv of news and resources. Since its formation in 2007, I have chaired the Goddard sustainability committee as we improve campus energy efficiency and reduce our carbon emissions with a goal of carbon neutrality by 2020. I am a member of the UVM Sustainability Faculty Fellows Program that is working to advance sustainability education.
I was in private practice for twenty years as a therapist with a focus in holistic and vegetarian health counseling, dream analysis, family systems, conflict resolution, trauma and recovery, and bodywork. I use the principles of Chinese medicine and Ayurveda in health counseling, and transpersonal, archetypal, cognitive, systems, and hypnotherapy approaches in therapy. Working with people making major changes in their lives or healing from serious illnesses such as cancer has taught me about the power we have to overcome daunting challenges and take our lives in a new direction. I am also part of a spiritual community that includes daily meditation, yoga, and travel to India for retreats with our spiritual teacher.
PhD in Consciousness Studies, The Union Institute; MA in Counseling Psychology, Vermont College; BA in Transpersonal Psychology, Goddard College.
Tracy O. Garrett
Residency Sites: Plainfield, VT
I hold a dual doctorate in Clinical and Industrial/Organizational Psychology from the California School of Professional Psychology. Currently, I am working at a human services firm in Washington, D.C. as Director of Quality Improvement and Behavioral Health Care. The major focus of my work is on program development, evaluation, and performance.
In addition, I oversee the implementation of quality improvement practices at all levels of the organization and develop improvements to processes and systems through the application of systematic techniques. As Director of Behavioral Healthcare, I supervise, motivate and guide the professional development of independent contractors providing clinical services and I have a small private practice. I have over twenty years of experience in the field of mental health and have worked in a variety of clinical, school and community settings.
I have been an independent consultant in the Washington Metropolitan Area for the last 10 years where I have provided training to schools, government agencies, non-profits, for profits, churches and professional organizations. My specialties are in the areas of community, team and organizational development.
I am on several non-profit Board of Directors and part of the Quality Council for a large Managed Care Organization and the Department of Mental Health in Washington, D.C. I am a member of Chesapeake Bay Organizational Development Network, and the American Psychological Association. My interests are in helping family and organizational systems develop strategies and interventions they can use to empower themselves and become more balanced and effective in their interactions.
My hobbies include tennis, traveling, bowling, singing and exercising.
PhD in Clinical and Industrial/Organizational Psychology, California School of Professional Psychology; MA in Industrial/Organizational Psychology, California School of Professional Psychology; MA in Social Psychology, Towson State University; BA in Psychology, Shepherd University.
Dr. Barbara Vacarr was appointed as President of Goddard College in July 2010.
As a psychologist and adult educator, she has been a leader in developing innovative programs for adult learners. She came to Goddard from Lesley University where, for the past 23 years, she was instrumental in establishing the school as a center for adult learning.
In 2006, she launched Lesley’s first PhD program in Adult Learning and directed the PhD programs in Lesley’s School of Education.
She is the founder and senior leader of Intergenerational Women’s Mentoring Collective (2003). For the past six years, she has been an adult learning consultant for the Rural Health and Human Services Programs at the University of Fairbanks. She served as an interviewer for Steven Spielberg’s Visual History of the Shoah Project, Project Leader for the Cambodian Youth and Missing History Project and speaker for Facing History and Ourselves.
Currently, she serves on the board of the Central Vermont Community Action Council. Dr. Vacarr is also a published scholar on the subjects of Adult Learning and Diversity Education.
PhD in Psychology, Union Institute and University, 1993
Residency Sites: Plainfield, VT
Pete Hocking is an interdisciplinary artist, activist, and teacher based in Providence, Rhode Island & Provincetown, Massachusetts.
His studio practice focuses on personal narrative and the construction of identity within the context of contemporary social and political life. He is co-founder and collaborator on several community-based initiatives, including New Urban Arts, Community MusicWorks, Project Eye-to-Eye and Equity Action. In addition, he has served on many boards of directors, including Southside Community Land Trust, AIDS Project Rhode Island, and The Rhode Island Council for the Humanities. At New Urban Arts he was an Artist Mentor Fellow from 2007-2009 and periodically serves as a Community Story Teller.
From 2007 to 2011 he served as interim director of Rhode Island School of Design’s Office of Public Engagement. Prior to that, for more than seventeen years, he was on the staff of the Howard R. Swearer Center for Public Service at Brown University, where he served as director from 1992 to 2005. As the Swearer Center's director and as an Associate Dean of the College, he worked to develop university-community partnerships, innovative leadership pedagogy, undergraduate research opportunities, social entrepreneur projects, and to integrate community-based learning with academic study. In addition to teaching at Goddard College full-time, he periodically offers courses in social practices in the arts, leadership, Queer Studies, Illustration, and ecology/sustainability at Rhode Island School of Design.
Teaching Philosophy and Areas of Interest:
As a teacher, I am committed to the intrinsic dignity and value of each of us as learners. I believe that we rarely acknowledge and embrace what we truly know. We are taught not to value what we know; instead being directed to trust on facts, figures and experts who tell us that they know more. The process through which we come to understand ourselves as theoreticians, meaning makers, and actors-in-the-world is sacred to me. I am committed to understanding how we "own" knowledge, and believe the arts to be a critical means through which we can articulate and convey our knowledge to others. I believe that artists hold a special trust in our culture as makers of critical meaning, as translators of ideas, as theoreticians, and as seers.
My theoretical preoccupations include Progressive Education and arts pedagogy; the American Transcendentalists and American intellectual history; Queer Theory and LGBTQ history; Phenomenology; ecology and sustainable systems; the public engagement of artists; and documentary practice. As an adoptee, I am interested in adoption rights and the effects of trauma on identity formation. I primarily work as a visual artist and writer. I love comic books.
MFA in Interdisciplinary Arts, Goddard College; BFA in Illustration, Rhode Island School of Art and Design.
Residency Sites: Plainfield, VT
I have an MEd in Counseling Psychology from Northeastern University and an MA in Judaic Studies from Brandeis University. I am a Licensed Mental Health Counselor, and a Licensed Alcohol and Drug Counselor.
I was a member of the Women's Mental Health Collective in Somerville, Massachusetts for 14 years. This group pioneered research and clinical practice in the psychology of women and sexual abuse.
I have done psychotherapy with a wide variety of adult men and women and have taught psychology to adults since 1983.
My research interests include minority adolescent development, including developmental issues of Jewish teens, mothering, chemical dependence and women in prison. I have published personal essays and professional articles in Women and Therapy, The Women's Review of Books, and other feminist journals and edited volumes.
MEd in Counseling Psychology, Northeastern University; MA in Judaic Studies, Brandeis University; BA in English and Social Studies, The City College of New York.
During the course of my studies at Goddard, I focused on creating peace in education and integrating the arts into elementary classrooms. This information was vital to me as I am creating an alternative school for students 3-12. My advisors pushed me to do my best work and encouraged me every step of the way. They guided me by making helpful suggestions and supported my process. The residencies re-charged me. They inspired me with the workshops, peer discussions, and special speakers. I became focused and motivated also. My experience at Goddard gave me confidence and a powerful feeling that I am capable of being the change I want to see in the world. Studying at Goddard was hard work ,but was also a joy. It was the best choice I could have made for what I wanted to study. Absolutely!
Residency Sites: Plainfield, VT
I am so pleased to introduce myself to you and to contribute again to a learning community that has so deeply impacted my development as a healer and a human being. I am a clinical herbalist and health educator in Central Vermont. Emphasizing whole-person healing, my “medicine bag” includes Western herbal medicine, healing foods and functional nutrition, the biological sciences, Traditional Chinese Medicine, bodywork therapies, and mind-body techniques (meditation, breathing exercises, journaling, drawing, mindful eating). My clinical work stresses our innate tendency towards health and the profound impact of synchronizing our lives with the rhythms of our local ecologies. In addition to my practice, I am a research specialist for the International Centre for Phytotherapy’s EXTRACT database, collecting and analyzing evidence-based data relevant to the therapeutic use of plants. As well, I write a quarterly, clinically-oriented article for UnifiedEnergetics, a journal dedicated to preserving and exploring consciousness in health and medicine. I co-direct a local school/clinic called the Vermont Center for Integrative Herbalism.
I serve as guest faculty in the Southeast Center for Herbal Healing’s three-year clinical training program in Asheville, North Carolina, and staff summer herb camps for kids, sponsored by Food Works at the Two Rivers Center for Sustainability. I am also a volunteer practitioner at the Sage Mountain Herbal Free Clinic which operates out of the People’s Health and Wellness Clinic in Barre, VT. As a graduate of the country’s first accredited Master of Science degree in Herbal Medicine, I have been blessed with exposure to an amazing breadth and depth of information, studying both evidence-based and traditionally supported clinical applications of herbs in Western, Chinese and Ayurvedic traditions. I am well-versed in the life sciences of anatomy and physiology, pathophysiology, phytochemistry, botany, and phytopharmacy, while remaining grounded in traditional ways of knowing and seeing – energetic assessment, skilled intuition, and direct communication with the plants. Through the study and practice of Zen Shiatsu, my interest in Traditional Chinese Medicine was piqued and, after further exploration, I incorporated Five Element theory as it relates to emotional and psychological health into my practice. I am currently investigating the integration of clinical aromatherapy with this Five Element approach to psychospiritual wellbeing. A life-long vegetarian, I have explored a variety of eating and cooking philosophies, including macrobiotics, veganism, and paleo-diet and strongly believe that food is our first and best medicine. Inseparable from my interest in food is an understanding of the politics of food availability and the impact of commercial food production on human and environmental health. In the past, I have farmed organically and biodynamically and have a basic knowledge of the practices of permaculture. I have also lived in intentional communities, which focused on sustainable food production and consumption, conservative and alternative resource use, consensus-based, non-hierarchical social structure, and personal transformation. In tandem with my interest in food and agriculture is my profound concern for our relationship with wilderness and the planet as Gaia. The foundation of my work in this area is my relationship with the land itself and the inspiration gained through our direct communication. Here, my studies of ecology, psychology, feminist/gender/queer studies, and Buddhist philosophy intersect, birthing a sense of urgency about our ecological and spiritual separation from the land. With that urgency comes a call to inspire others toward practices that affirm interdependence and acknowledge the indwelling spirit of nature. In addition to the breadth of my experience and interests, I hope to offer students guidance in creating a viable career path in the health arts and sciences. As the healthcare climate is continually evolving, graduates of this program will serve as bridges between the current failing system and an emerging system of wellness. I have first-hand knowledge of seeking education in a budding and unlicensed field, one that straddles worlds both ancient and modern, intuitive and scientific. Though I will certainly share resources and guide around pitfalls, more essential is my desire and ability to nurture in each student the personal inspiration that calls them to healing work. Through deep listening, honest reflection, and joyful collaboration, I aspire to cooperatively cultivate a powerful and effective expression of each student’s personal source of authority. This authority will become their navigator in uncharted waters. I approach my role as a faculty member with the same spirit and objective with which I approach healing work: I serve as a dedicated partner in transformation. I believe education can be viewed as a dual process of acquisition and evolution. While acquisition involves gathering information and resources, which enhance and refine the learner’s chosen path, evolution gradually reveals innate gifts and wisdom. Common to both processes is the act of transformation. In this way, the whole person is educated through a cyclical process of expanding and honing, shedding and unfolding on all levels of being. As a mentor during the acquisition process, I see my role as that of an instigator ~ one who incites curiosity, voracious experimentation, far-flung theorizing, and steadfast focus. As a partner in the process of personal evolution, I can offer various practices that foster personal reflection, right-brained engagement, and interaction with the natural world to promote the process of self-discovery. I will urge definition of the core values driving the students’ life and work. With awareness of what informs their actions and how their lives are already flourishing, students can then craft a vision that incorporates their inherent strengths, their value-oriented goals, and their evolving sense of place in the world. Through this transformative model, individuals are empowered to reveal and engage their deep passion for life in service of the whole. The possibilities for global change latent in education that engages the whole person are what draw me to this work. To sit with individuals in healing partnership is a profound honor, yet to be able to participate in the metamorphosis of a wider population through education is an equally humbling privilege. I offer myself as an instrument of transformation, guided by my own personal vision of sacred, juicy, vibrant living. Additional Training: Mind-Body Skills, Center for Mind-Body Medicine, Washington, DC; Foundations of Nutrition, Rooted Wisdom Center for Wholistic Living, VT; Traditional Herbal Diagnosis, Matthew Wood /Sunnyfield Herb Farm, MN; Avena Institute Herbal Studies Internship, Deb Soule, ME; Swedish/Esalen Massage Technician, Heartwood Institute, CA; Zen Shiatsu Acupressure & Whole Foods Nutrition, Heartwood Institute, CA
<p>MS in Herbal Medicine, Tai Sophia Institute for the Healing Arts; BA in Sustainable Health, Goddard College.</p>
Fred Wilber is the owner and founder of Buch Spieler Music in Montpelier, Vermont. He was born in New Berlin, New York, in 1951. When he was in second grade his family moved to Clifton Park, New York. Wilber’s interests during his junior and high school years were music and filmmaking. In fourth grade, he began playing the piano and making super 8 movies criticizing the Vietnam War and child abuse.
In high school, Wilber was elected senior class president even though he didn’t want the position. His friends, who thought he should run, collected enough signatures to get him on the ballot. His campaign speech advocated for more freedoms and opportunities for self-direction for seniors. The speech was reviewed by the class adviser who felt that it was too radical. Wilber wrote a new speech and got it approved, but delivered the original anyways. The teachers were shocked, the students cheered, and he was elected president.
Wilber graduated from high school in 1969 and applied to Goddard College. He graduated from Goddard in 1973, with Buch Spieler Music as part of his senior study. The business enters its 40th year in January of 2013.
Over the years Wilber has been a member of many musical ensembles, including Butch Casio, Ken Sleeps Naked, Maddub, and, now, MadMan3. He also served as the director on the Twinfield School Board for six years and was a founding member of the Onion River Arts Council.
Wilber married Patty Morgan in 1985. Their daughter, Morgan, was born in 1986.
Cara Hoffman graduated from Goddard’s low residency MFA in Creative Writing Program in 2009. Even before graduation her novel So Much Pretty had found an agent, and very shortly after graduation it found a major sale with Random House. Cara came to Goddard after a dedicated career as a journalist, and time spent as a guest lecturer at Cornell University and Tompkins Courtland Community College, where she now teaches.
Residency Sites: Plainfield, VT
Walter Butts, a beloved Goddard faculty member and dear friend, passed away on March 31, 2013.
Everyone who encountered Walter has a special story to tell about him. He had a memorable way of connecting that was deep and personal. Walter served as faculty in Goddard's BFA in Creative Writing program for 5 years. He shared so much of himself with us; in his writing as a poet, in program blogs, with his students and colleagues. At his passing, he was the presiding New Hampshire State Poet Laureate.
Our love and support go out to Walter's wife, the poet, S Stephanie, their daughter Amy and her family. And condolences to all in the Goddard community who were touched by Walter and his work.
Walter's Faculty Bio
I am committed to a responsive, student-centered approach that recognizes strengths and potential, focuses on personal interests and goals, and, hopefully, leads to significant creative growth. As a graduate of the low-residency MFA in Writing Program at Vermont College, I greatly value the learning opportunities unique to individualized studies.
For me, the student-teacher relationship evolves in the same sense that the activity of writing seeks discovery. Regardless of pedagogy, the objective should be self-affirmation through the exploration of language and development of critical thinking skills. I believe my task as a teacher is to establish a dialogue with each student that facilitates personal inquiry within the context of both traditional standards and experimental options. Comprehensive readings of relevant literature should be incorporated into this process, with subsequent learning actualized through student writing. The student therefore becomes aware of both the possibilities and limitations inherent in language, and gains familiarity with a range of writing strategies, ultimately arriving at one’s own voice and style.
Writing is my way of engaging with the world around me and making connections between the inner-self and our social environment – essentially, investigating what it means to be human.
The recipient of two Pushcart Prize nominations and a Massachusetts Artists Foundation Award, I have published poems in several literary journals, including Atlanta Review, Cimarron Review, Mid-American Review, and Poetry East, and my work has been anthologized in the Anthology of Magazine Verse & Yearbook of American Poetry (Monitor Books, 1996), Open Door: A Poet Lore Anthology 1980-1996 (Writer’s Center Editions), Under the Legislature of Stars: 62 New Hampshire Poets (Oyster River Press, 1999), An Endless Skyway: Poetry from the State Poets Laureate (Ice Cube Books, 2011), and elsewhere. I am the author of Cathedral of Nervous Horses: New and Selected Poems (Hobblebush Books, 2012), Radio Time (Cherry Grove Collections), named poetry winner at the 2011 New England Book Festival, Sunday Evening at the Stardust Café, which was selected as a finalist for the 2005 Philip Levine Prize in Poetry, and chosen winner of the 2006 Iowa Source Poetry Book Prize, and other books and chapbooks.
I have given readings and conducted poetry and multi-genre writing workshops for various institutions and organizations including the University of New Hampshire, Southern New Hampshire University, Colby-Sawyer College, New England College, Cornell College, Philips Exeter Academy and The Unitarian/Universalist Fellowship of the Poconos (where I spoke on “Secular Faith & the Poetic Spirit”).
In March 2009, I was appointed to a five-year term as New Hampshire Poet Laureate, and am therefore engaged in ongoing efforts as an advocate for community based literary activities throughout the state In October, 2011, I hosted the New Hampshire Writers’ Project “Poetry & Politics Conference.” Poets Laureate from across the U.S. gave statewide reading tours and gathered for panel discussions. I have taught courses in film studies and the humanities, and have an active interest in Eastern philosophy, myth, religion, literature, the cultural influences of African American music, and race relations in urban America.
MFA in Writing, Vermont College.
Financial Aid Manager, Staff
TRUSTEE EMERITUS Peter Morse Donovan, CFA
Born: Washington, DC, 1943
Education: Goddard College, 1965 - B. A. Economics; Chartered Financial Analyst, 1987
Business Experience: Jones, Kreeger & Company, Washington, DC, 1965-66. Wright Investors’ Service, Milford, Connecticut, Investment Analyst, 1966; Managing Editor of ¬In¬vestment Publications, 1968; Assistant Vice President, 1969; Vice President, 1971; Senior Vice ¬President Administration and Finance, 1978; Executive Vice President, 1983; President, 1988-2002; Chairman of the Board and Chief Executive Officer 1996-present.
Chief Executive Officer of Wright Investors’ Service since 1996; Wright Investors’ Service is an investment man-agement, advisory and service organization, founded in 1960. WIS exercises direct respons¬ibility for the management of over $1.5 billion in pension and other investment funds including mutual funds. WIS also manages the investments of institutional investors and bank trust departments, and provides wealth management services to individual investors throughout the United States. Through its web sites www.wrightinvestors.com and www.corporateinformation.com WIS provides investment analysis of 30,000 companies worldwide.
Directorships/Trusteeships: Chairman of the Board of Directors, The Winthrop Corporation and Wright In-vestors’ Serv¬ice, Inc. President and Trustee of five Mutual funds that make up the The Wright Managed Equity Trust and The Wright Managed Income Trust.
Public Activities: Vice Chairman of the Board of Trustees of Goddard College, Plainfield Vermont; Chairman of the Board of Trustees of The School for Ethical Education, Milford Connecticut; Trustee of the Pequot Runners’ Club, Southport, CT. Former Trustee of Hall-Brooke Behavioral Health Services, Westport Connecticut and Former Member of the Advisory board of the Sacred Heart University School of Business, Fairfield Connecticut;
Author: Co-author of Worldscope Industrial Company Profiles and Worldscope Financial and Service Company Profiles.
Societies and Clubs: Member of the CFA Institute, The New York Society of Security Analysts, The Hartford Society of Security Analysts, The Army and Navy Club, Washington D.C., The Union League Club, NYC, The Pequot Yacht Club, and The Pequot Runners’ Club.
Address: Wright Investors’ Service, 440 Wheelers Farms Road, Milford, CT 06640. Telephone: (203) 783-4400 Fax: (203) 783-4401 e-mail: firstname.lastname@example.org
Residency Sites: Port Townsend, WA
My work comes from a belief that art can be a powerful catalyst for intellectual inquiry and social change. Conceptually, I draw from the personal, with the intention of making the ideas and issues public. Many of my projects—connected to AIDS, homelessness, incarceration, public education, gender, ethnic identity, Israel/Palestine, ecology, disarmament and social responsibility (to name a few)—are large-scale and difficult to clearly document in photographic images. In these projects I engage with communities, using the process and the final work produced as a forum for audiences to see and hear the voices from these communities. I am also interested in using my work as a vehicle that provides for a democratic forum to take place. While some of my work is community-based public art made in response to or in collaboration with historically under-represented communities, my studio-based work is more object-oriented and meant to be seen in more intimate, even domestic spaces.
As my social practice engages with local communities and local ecologies, my studio work synthesizes these experiences to create other modes of inquiry and new ways to make these experiences visible. Over the years my work has addressed issues of memory, loss and grief as well as humor, community-building and social action. In the fertile ground of these community-based experiences, my ideas germinate and my work as an artist takes root. This social engagement informs the formal quality of my work and brings into focus appropriate public spaces to present projects and engage audiences.
My studio-based work, based in private experience, has more recently become an installation of objects made from the detritus in my daily life as a parent of twin daughters. In this work, the cultural memories of our childhood become the everyday tools we hold in our hands to get us through the day (or sleep-deprived nights.) These pieces address the maintenance work involved in being a parent with the environmental ethic of “reduce, reuse, recycle and rot.” They examine the hourly repetition of seemingly mundane activities, building bridges of dialogue to audiences by using humor to expose the commonality of our private lives.
My work in the private space of my studio and the public sphere of the community have both continued to enrich and inform my work with students in the classroom and beyond.
I have been exhibiting my work in museums, galleries and public sites for more than 30 years and have been the recipient of awards and grants that include a Visual Arts Fellowship from the California Arts Council in 2003, the 2001 Potrero Nuevo Prize, Noetic Arts Program Community Grant, San Francisco Arts Commission Market Street Art in Transit Commission and 12 California Arts Council Artist in Residence Grants for community-based public art projects in the San Francisco Bay Area AIDS support service community and in the City of Berkeley homeless women and children services community. I have had the great pleasure of working as the Artist in Residence at San Francisco Recycling & Disposal, Inc. in the summer of 2004.
My artwork has been featured in publications that include Notes on the Need for Beauty: An Intimate Look at an Essential Quality (2007), by J.Ruth Gendler; Women Artists in the American West (2003), edited by Susan Ressler, Lure of the Local: Sense of Place in a Multicentered Society (1997), by Lucy Lippard, Connecting Conversations: Interviews with 28 Bay Area Women Artists (1988), edited by Moira Roth and Site to Sight, Mapping Bay Area Visual Culture (1995), edited by Lydia Mathiews.
I have taught for 5 years as an Assistant Professor as a member of the full-time faculty at University of San Francisco and for 18 years as Core Faculty and Adjunct Professor in the Graduate Department of Arts and Consciousness at John F. Kennedy University and California College of Arts and Crafts, San Francisco Art Institute, California State University at Hayward and the University of New Mexico as well as at several California Community Colleges. I am the founder of Positive Art in 1988, an art project in the Bay Area AIDS community continuing to provide a model for many communities internationally. Since 1996 I have served as a board member of WEAD (Women Environmental Artists Directory). I have lectured extensively in art colleges, universities, professional conferences, galleries and museums throughout the United States and recently, have begun to publish articles that I have written about my community-based practice and teaching.
My work as a community-based art professor is featured in a new book entitled Outside the Frame: Teaching Art for Social Change, by Beverly Naidus, published by New Village Press in 2009. My studio artwork will be featured in the artist pages in The Contemporary West, Weber State University Literary Journal, Ogden, Utah in 2009 and in a book about contemporary political and social practices in the arts by Seattle-based art writer Susan Platt, entitled Art and Politics Now: Cultural Activism in a Time of Crisis. I am also included in a book in progress entitled Singers of Tales: Documenting the Work of Women Environmental Artists, by Anna Clarke and Elizabeth Pasterfield-Li.
MFA in Painting and Scuplture, University of California at Berkeley; MA in Painting and Drawing, University of New Mexico; BFA in Painting and Drawing, Tyler School of Art, Temple University.
Residency Sites: Plainfield, VT
My activism took root in North Carolina during the turbulent, liminal 50’s and 60’s. Fighting for social change and seeing it come into fruition – of a sort – gave me hope as well as faith. I have always lived in the borderland between pragmatism and idealism because I know that hearts and laws change at vastly different rates. This border existence is a place of learning. I live with the past and in the present, while envisioning and preparing for the future. I’ve marched, boycotted, written letters, organized conferences, donated money, and amassed thousands of volunteer hours. In these small ways, I help to improve others’ lives. In these small ways, I help myself to become a better person. I learn about the things that make this planet a more humane place.
Several years ago, my life changed professionally and personally. My Master of Science in Administration informed my work as an administrator in colleges, community organizations, and public relations firms. But something else called to my spirit. I moved with my partner from Brooklyn, New York to Charlotte, Vermont. I earned a Master of Fine Arts in Writing and Literature. Teaching and writing have since become primary vocations and are acts of hope and faith. In addition to serving as a faculty member in Goddard’s Individualized BA and BFA Programs, I teach online and face-to-face courses at local colleges. I am also a writing coach for a management consulting service. Through these experiences, I learn at least as much from my students as they do from me.
Writing is a daily practice. In my journals, I draft and revise poetry and prose, constantly learning and relearning about the world in which I live. I have been an educator for over twenty years; yet, I approach teaching with the attitude of a novice. There is always something new to learn. On the page and in the classroom, I experience the excitement and trepidation that comes with showing up. Sometimes not much happens. Other times I am aware of breaking through: To express myself as I intended. To express myself in ways that surprise me or others.
Like writing and teaching, gardening, raising chickens, and caring for my Cairn terrier are daily activities that sustain me spiritually and emotionally. This work constantly takes me out of my comfort zone where learning can happen.
As a Goddard faculty member, I have worked with students interested in Literature; Creative Writing (particularly Personal Narratives and Poetry); Myths, Legends, and Fairy Tales; Community Activism; Women’s Studies; Music; Race and Racism; Education Theory; Gay and Lesbian Studies; American Studies; and Popular Culture. Coursework in other colleges includes Shakespearean Drama, Seminar in Educational Inquiry, American Literature, and Rhetoric.
MFA in Writing and Literature, Bennington College; MS in Administration, Long Island University; BS in Health Science, Brooklyn College.
Residency Sites: Plainfield, VT , Residency Sites: Seattle, WA
Education, both formal and informal, is at the center of most of our lives. Some of us choose to place it at the center of our work as well, and that is the case in my life. My motivation comes from believing that education creates opportunities to contribute to the larger community.My journey as a public school educator began as a math teacher in the eastside of San Jose, California and ended as the Superintendent of Schools in the small winter community of Provincetown, Massachusetts. Between these two positions, I served as academic math teacher, school counselor, school improvement director, curriculum coordinator, assistant headmaster and middle and high school principal.Of all my professional experiences, the highlights have been my work with colleagues in creating school-within-school options in the following large urban high schools: The Community School in San Jose and the Fenway Program and Multicultural Program in Boston. We built these learning communities on authentic relationships and engaged learning – learning that took place both inside the school walls and in the community. Many of us were called upon to push the boundaries of public school practice as we came to realize that educational acts are never neutral and that one’s active involvement determines whether education is a practice of freedom for all, or not.It was an honor for me to join the Goddard College Education Program in 2002. The structure of the Program and the College aligned with my core values; education is most meaningful when it is responsive to the individual student, creates supportive learning communities and explores how education is a means for a more just and humane society.In 2003 I began Program Director after serving as Faculty Advisor and Licensure Coordinator. The EDU faculty advisors are a remarkable group of colleagues with strong academic backgrounds and a diverse range of educational experience. Some, like me, ground their knowledge in practice, while others are rooted more in theory. However, we all honor the powerful and dynamic interplay among inquiry, action and reflection. Authentic relationship between faculty and student is at the heart of our experience together.Over the last five years, our program has grown, creating a second site in Seattle, Washington. This new site furthered our program's actualization of our vision to support racially, linguistically, and culturally diverse learning communities. At both the Vermont and Seattle site we embrace and learn from our differences and connect through our shared humanity. As you read about who we are, I hope that you will consider joining us, adding your unique talents and voice to our learning community.
Educational Background: EdD in Teaching, Curriculum, and Learning Environments, Harvard University; MA in Counseling Psychology, Santa Clara University; MA in Educational Administration, San Jose State College; BA in Mathematics, Bucknell University.
Residency Sites: Plainfield, VT
All my life I have been drawn to books and stories. I see my work in clinical psychology as helping people to tell their stories, and to tell them in new ways, with new metaphors, new words, and sometimes with new characters. In college I studied religion, philosophy, and literature, changing my major to psychology in my senior year. I obtained a Master’s degree in social/personality psychology and wrote my thesis on gender and conversational dominance. During my pursuit of a degree in clinical psychology, I studied depression and cognitive biases and worked on finding commonality between cognitive and psychodynamic theories.
I completed an internship at McLean Hospital/Harvard Medical School where I remained part-time for about ten years as a Fellow and Assistant Attending Psychologist. I was taken by the relational work being done there, and at the Stone Center, which valued personal connection, empathy, and individual narratives. I also worked in an inner city community mental health center in East Boston. I was moved by the courage and strength of people struggling with homelessness, drug addiction, trauma, poverty, racism, and serious illnesses, such as schizophrenia. During that time I also worked with children of the city and was struck by their will to thrive and vitality in difficult circumstances. I have been in private practice in Portsmouth, NH since 1991 where I work with adults, children, families, and consult to community agencies and schools.
Although I have studied, cognitive, psychodynamic, and interpersonal approaches to psychotherapy, my work has been as influenced by listening, and learning from my clients. They can be good critics and teachers, too. In education, as in therapy, I seek to help people look at the assumptions underlying their beliefs and become critics of their own narratives. I believe community, connection, and developing a spiritual understanding are important to the process of growth and that both student and teacher can be changed in the process of education. I also believe that the process of scientific discovery can help us to see the world and ourselves in new and different ways (remember Galileo).
I serve as a contributing editor of Mars Hill Review, where I am responsible for the music section, but also publish occasional essays, interviews, and book reviews. My interests are primarily in folk, blues, gospel, Celtic, and music from other countries and cultures.
PhD in Clinical/Community Psychology, State University of New York at Buffalo; MA in Social/Personality Psychology, Connecticut College; BA in Psychology, Nyack College.
Susan Merson has authored a nonfiction book (written at Goddard College) entitled Your Name Here: An Actor/Writer's Guide to Solo Performance (Star Publish, 2004) and is a working actor, writer, producer, and educator.
Chris Millis graduated from Goddard's low-residency MFA in Creative Writing program in 2007. His first novel, Small Apartments, has been called “zany” (The Washington Post), “hilarious… an impressive achievement” (The Post-Star) and “the kind of cinematic debutante that goes home to bed with Oscar” (Vancouver Sun). The critically acclaimed novel has been adapted into a movie starring Billy Crystal, and it premiered at South By Southwest 2012.
Millis had already achieved the kind of success many writers only dream about when he decided to come to Goddard to study writing. So, we pose the question, "If you’re already published, why come to Goddard?" Read the interview with Chris to learn more.
Residency Sites: Port Townsend, WA
There are few things more important to me than writing and literature. I think that the classroom is one of the remaining vibrant spaces, an exciting and often electric place, wherein participants can explore and discuss creative writing, and have experiences that open up their work in unexpected ways. I require students to read a lot, knowing that for writers to improve and achieve mastery, they must read and learn from masterful writers. I believe that the books are our teachers, but also that the writing teacher is a guide, through texts and also through student works-in-progress. When I work with students, I often draw from and reflect upon my own experiences as a writer. Writing is obviously a solitary act, but I believe that those of us who us who spend our lives using words to make art and story benefit greatly from collaboration and exchange.
I have just finished a trilogy of novels, which I have worked on for the past eight years. My first novel, Three Apples Fell From Heaven, was published in 2001 (Riverhead Books). It follows the lives of a handful of characters in the towns of Kharphert and Mezre in eastern Turkey during the First World War when the massacres and deportations of Armenians were carried out. This book was inspired, initially, by the stories of my maternal grandparents who both survived the Armenian Genocide and who later fled to Beirut, Lebanon where they lived in exile. Three Apples Fell From Heaven was a New York Times Notable Book and a Los Angeles Times and Washington Post Book of the Year in 2001. It was also Runner-up for the PEN/Hemingway Award. The second book in the trilogy, The Daydreaming Boy, was published in 2004 (Riverhead Books). It follows the life of an Armenian war orphan and refugee in Beirut, Lebanon, who in his mid-life begins to remember his childhood in the orphanage, and to contemplate his existence in diaspora. The book was named the PEN/USA Fiction winner for 2005. The third book, Draining the Sea, forthcoming in Winter 2008 (Riverhead Books), is about a half-Armenian man in Los Angeles and his obsession with a Guatemalan woman who is Ixil-Maya and who herself suffers through the massacres during the Guatemalan civil conflict and scorched earth campaign of the 1980’s.
I received a Lannan Literary Fellowship in 2004, and a Whiting Award in 2006. I have been teaching at Mills College in the Creative Writing program for the past four and a half years.
MFA in Creative Writing, Mills College; BA in Comparative Literature, University of California, Berkeley.
Program Officer, Ford Foundation
Initiative: Expanding Livelihood Opportunities for Poor Households
Wayne Fawbush is a Program Officer with the Economic Opportunity and Assets Unit of the Ford Foundation, focusing on rural economic development. His work concentrates on helping families improve their livelihood and wealth-building opportunities through the employment of “triple bottom line” development practices that promote positive changes in equity, environment and the economy.
Before joining the Ford Foundation in 2007, Wayne was executive director of the Vermont Sustainable Jobs Fund. As its first director, Wayne grew the fund into an innovative economic development entity focused on helping communities and businesses in rural Vermont improve their economic base and sell forest and agriculture products in profitable markets. Previously, in the Clinton administration, he was deputy for program operations for the Farmers Home Administration at the Department of Agriculture.
Wayne served for 16 years as a representative and senator in the Oregon Legislature, concentrating on economic development in rural areas. He also owned and operated a pear and blueberry farm in Hood River, Ore., for 20 years. Wayne was an officer in the U.S. Air Force, including a tour in Vietnam. He earned a master’s degree from the University of Oregon.
Economic Development Unit
320 East 43rd St.
New York, NY 10017
(Our grant making team includes Grants Administrator Benjamin Afrifa, email@example.com and Administrative Assistant Kamara Haynes, firstname.lastname@example.org)
Residency Sites: Port Townsend, WA
Lexi Heiser is a student in the undergraduate program earning her BA in Individualized Studies (IBA) at Port Townsend, WA. She originally attended Goddard College in Plainfield, Vermont. During her studies she relocated to Port Townsend, unaware that Goddard had set up a learning site there.
Lexi’s senior study is a personal research project on the relationships between people and plants, specifically Comfrey. She is researching Comfrey from the many different perspectives and integrating her passions into the work in order to weave together a senior project that is a reflection of her entire academic experience. She hopes to “address the looming issues we face in the world today with knowledge, an open heart, and a grounded sense of being.”
Vincent DiPersio was in Goddard's Residential Undergraduate Program (RUP) from 1973-76. He now works in television as a writer/director/producer.
His documentary "The Kennedy Detail," which he produced and directed, was nominated for an Emmy in 2012, and his new series, "Bomb Patrol Afghanistan," which follows a Navy Bomb Disposal Unit through their entire deployment, was nominated as Best Limited Series by the International Documentary Association (IDA).
DiPersio is originally from Philladelphia. Says DiPersio: "I was a kid from a tiny row house in Philly and Goddard changed my life, filling me with a life-long sense of curiosity that's led to 3 Oscar nominations and two Emmys! And I can honestly say that if I hadn't been struck by Goddard's lightning in the seventies none of that would have happened."
Goddard was a perfect fit for me. I am a self-motivated person and Goddard allowed me to follow my interests, with the added benefit of wonderful guidance from my advisors. I formed close friendships during the residencies, and consider that a very significant part of the program. I feel much more confident as an artists, and much clearer about my direction. The entire institution, with its non-institutional atmosphere, also contributed to my experiences.
Karla Haas Moskowitz
Residency Sites: Plainfield, VT
I have been a licensed classroom teacher since 1980 with pre-K through university experience.
My undergraduate work is in Counseling in Special Education and Social Services. I hold a Professional Colorado Teacher’s License in secondary English and have taught in four states in both urban and rural areas.
In 1990, I received by my elementary and secondary school Principal’s Licenses from the University of Denver. I hold two Master of Arts degrees; the first in Curriculum and Instruction with a cognate in International Studies and the second in Political Science from the University of Colorado at Denver. My interdisciplinary Ph.D. is in Political Science and Education.
Currently, I serve as the Co-Executive Director of MHM Educational Service, LLC. MHM provides an array of educational services to individuals, schools, districts, community-based organizations as well as other state and local agencies. I co-direct the Teacher Institute at La Academia, an alternative teacher licensure program serving educators statewide in Colorado and am the director of the Principal Institute, a program that licenses school principals through the alternative route.
Since 2003, I have served as a teacher trainer for Lesley University’s National Initiative where I teach a variety of graduate level education courses nationwide. I have also served as an Adams State College and University of Denver adjunct instructor, developing on-site teacher training courses since 1992.
I teach graduate courses for the School of Education at the University of Colorado at Denver in the Literacy, Language, and Culturally Responsive Teaching program. Additionally, I have taught a variety of political science courses for Metropolitan State College of Denver and political science at the University of Colorado at Denver. Participatory Teacher Action Research remains my passion and focus.
My most recent work is in teacher resistance and activism for the purpose of transformation of self and society.
PhD in Political Science and Education, Union Institute and University; MFA in Creative Writing, Goddard College; MA in Political Science, University of Colorado-Denver; MA in Education with a Cognate in International Relations, Center for Teaching International Relations, University of Denver; BA in Counseling in Special Education and Social Services, University Without Walls Program, Regis University (formely Loretto Heights College).
Residency Sites: Plainfield, VT
Her Goddard senior study, “Unwrapping Chocolate: An Ethnobotanical Study of Theorama Cacao,” had prepared her well for winning the Food Network's "Sweet Genius" competition in 2012.
Having worked for several years as a chocolatier, Neely was familiar with cacao beans – the seeds harvested from fruit on cacao trees. (Theobrama cacao, the Greek name of the tree, translates as “food of the gods”).
During her first semester at Goddard, Cohen honed her culinary arts skills by training at the Natural Gourmet Institute in New York City. For her second semester at Goddard, she landed a placement as Executive Chocolatier at ChocoMuseo, a museum in Cusco, Peru, devoted to understanding the history and production of chocolate. While there, Cohen had the opportunity to spend time in the Amazon rainforest and to see cacao trees in their native habitat. Like an artist getting to know her raw materials, she learned how to roast and ferment cacao seeds and to create cacao paste. At ChocoMuseo, Neely created chocolate recipes and taught visitors the bean-to-bar process.
Her senior project expanded on her Peruvian experience with research on the historical, agricultural, medicinal, and folkloric aspects of cacao.
One of Neely’s future goals is to open a chocolate café where people can enjoy creative varieties of chocolate while also learning about the bean-to-bar process. In the meantime, anyone can try one of Neely’s brilliant desserts by visiting Cambridge, Massachusetts, and heading over to Central Kitchen, where she is Executive Pastry Chef.
Marvin House started his construction career in 1973 after graduating from Purdue University with a B.S. in Construction Supervision. He later received a Masters Degree in Business Administration.
He is a licensed Professional Engineer in 14 states and holds a Contractor’s License in 6 states. He also holds Certifications in a variety of other areas. His employment history includes being a Detailer, Estimator, Project Engineer, Project Manager, Vice-President of an ENR top 400 construction company, and founder and Owner of his own construction company. He currently is CEO of Merit Construction, Inc. Merit, is a mid sized building contractor in East Tennessee doing an annual volume of approximately 80 million dollars.
His work experience includes large and mid sized heavy and building projects involving water and wastewater treatment plants, bridges (including the first cast in place double box free cantilever bridge built in the continental United States), hospitals, offices, institutional and specialty construction.
In addition, Mr. House is President and Owner of Professional Construction Consulting, Inc. (PC2). PC2 provides construction consulting services to Owners, Architects and Sureties in a variety of areas.
Mr. House has been married since 1969 to his wife Janie. They reside in Blaine, TN and have two grown children.
When Claudia Turnbull's children were grown, she decided to learn more about a meditation practice stemming from Vedic teachings she had been following for thirty years. She needed either a low-residency or a distance learning program that would allow her to study wherever she was. She chose Goddard's low-residency MA in Individualized Studies degree program, where she explored concepts of consciousness within Indian philosophy and wrote A Spiritual Memoir for her thesis.
Residency Sites: Plainfield, VT , Residency Sites: Port Townsend, WA
Much in the same way that when I look at a piece of student writing I try to discern the emerging story that may not yet be on the page, I begin working with a student by asking what she or he most passionately wants to do. This is not a trivial question, and it often takes a while to move past the collection of sensible decisions, shoulds, and oughts to the kernel of desire.
When we are ready to plan the student’s project, I work closely with the student. We talk about the writing itself, schedules, revising, and possible writing assignments. And I make many reading suggestions. By the time the residency is over the student and I have agreed on a study plan that is as detailed as possible, knowing it may change during the semester. In our correspondence I try to help the student achieve the full potential of each piece of writing. In my criticism I am sometimes general, sometimes specific, depending on the stage of a given piece of writing. I do believe students need to know, in detail, what is working in their writing, and what they do well. I also make suggestions to help students play, and to encourage different ways of approaching material.
I want to help students court the unusual, the unexpected, and I look for ways to push and pull students through to some new adventure in their work. I enjoy working with students in all genres and at all ability levels. In the last few semesters, I have worked with poets, short story writers, and novelists, and I have had the pleasure of working with fiction writers who wanted to explore writing poetry and poets who wanted to give fiction a try. I am open to all possibilities.
I've published creative non-fiction, poetry and short fiction. I have recently finished my doctorate. My dissertation looked at the proliferation of Golems in contemporary Jewish American Literature, and explored various theoretical issues, particularly self-reflexive fiction, and Holocaust representation and the second generation.
PhD in English, SUNY Binghamton; MFA in Creative Writing, Vermont College; MA in Education, Goddard College; BA in Economics, SUNY Purchase.
Jonathan Katz (BA RUP '71) is a comedian, actor, and voice actor. He is best known for his role as the animated Dr. Katz, Professional Therapist. Katz attended Goddard College in Plainfield, Vermont with playwright David Mamet, with whom he remains close friends. Katz co-wrote House of Games with Mamet and had small roles in the Mamet-directed films Things Change, Homicide, The Spanish Prisoner and State and Main.
Katz is the chief architect of the Goddard College Storyphone, a project of Goddard's 150th Anniversary Celebration.
<p>Bachelor of Arts, Goddard College, 1971.</p>
Sarah Van Hoy
Residency Sites: Plainfield, VT
I am here at Goddard because of Love. We might as well start there. There are few places where we can study what we love, where we can share what we love, where we can long for the world to unfold in our vision of love, where we can use the word “love” five times in a row and still be taken seriously. This program is one of those places and I feel blessed to be here.
Assuming, dear reader, that you still do take me seriously, let me tell you where love has brought me. This story, while my own, is offered as a version of all of our stories, which are often just tools for finding each other. Given that the pedagogical model at Goddard is based in part in conversation and reflective dialogue, then the learning and life experiences that we all share inform and deepen those conversations.
I had recurring dreams as a child that I fell out of the sky, holding hands with my people. As a mythopoetic image, the gesture of showing up in community with a sense of shared purpose animates much of my life. As a young person, a child of hippy parents, these communities included groups of people coming together to create democratic schools, community gardens, artist colonies, food co-ops, sustainable living and appropriate technology institutes. I’ve enjoyed large human gatherings, peace and music festivals, acts of collective civil disobedience as well as small gatherings of devas and faeries taking place out back under the sunflowers and pussy willows. In all these contexts, I am attracted to community in some fundamental way that is simultaneously spiritual, revolutionary and sensuous.
Growing older, my experiences in community became intentionally and karmically focused in the ashrams of the late Swami Muktananda. There, I spent a couple of decades immersed in the teachings and practices of Kashmir Shaivism, the language of yoga, experiences of shakti and the path of meditation. I became a teacher of yoga and yoga philosophy and developed a love for the Sanskrit language.
At a cross roads in my life, I made an ethical decision to leave the ashram. Yet, those formative decades still shape much of my devotional sensibilities. No doubt as a way of making sense of my experience in Siddha Yoga, I embarked on a long trajectory of learning, both inside and outside of academies. In the early 1990’s, I moved to New Mexico and worked with various visionaries: a group of deep ecologists involved in transformational leadership projects, an international high school for global consciousness and several smaller healing projects. There, I began my studies of Chinese medicine and spent some time hanging out with Coyotes.
I later moved to California and studied psychology. I worked for many years as part of an organization that offered spiritual support to dying people. I also completed my training as a psychotherapist – an experience that highlighted a tacit “participant-observer” orientation within so many “cultures of medicine.” In seeking to navigate an intense clinical focus and an equally compelling critical perspective, I eventually moved to Seattle, where I embarked on a Ph.D. in medical anthropology. My doctoral dissertation explores the way in which authenticity is negotiated in Chinese medical communities in the United States.
I examine the notions of authentic traditions alongside authentic selves and authentic futures. In my listening, I’ve heard a recurring theme. “The world is changing and healing is changing with it. Any truly holistic medicine must look to communities and ecosystems as well as individuals as locations for diagnosis and intervention.” I am paying close attention to this emerging wisdom, which seems quite alive and articulate in the Health Arts program at Goddard.
Somewhere along this path, in addition to acquiring far too many degrees, I’ve also become a mother of two beautiful boys, Gabriel and Samuel. I enjoy my quiet (and not so quiet) life with my little family here in Vermont – working in the garden, spending time on the water, dancing in the backyard when the rain pours down. As my children get older and become stabilized in school, I look forward to returning to a clinical practice as a psychotherapist, acupuncturist and herbalist.
This brings me full circle to where I began. I find myself in love, in no uncertain terms, with this community that is Health Arts. In certain moments, it seems quite probable that we all fell out of the sky together, holding hands. Whatever the real or imagined histories, I am quite jazzed to share the time and space for study planning, conversation, radical scholarship and the unfolding of the world in our vision and experience of Love. (May there be nothing left of any of us!)
PhD in Anthropology, University of Washington; MA in Medical Anthropology, University of Washington; MA in Counseling Psychology, Pacifica Graduate Institute; MTCM in Traditional Chinese Medicine, Northwest Institute of Acupuncture and Oriental Medicine; BA, University of Michigan.
Residency Sites: Plainfield, VT
I love working with Goddard students, for like you, experiential learning has been a life-long passion for me. I enjoy helping students find ways to use the world around them as the classroom. I also love the challenge of working with students who have a lot of different interests and want to find ingenious ways to cross the traditional discipline boundaries.
My work is in psychology, in movement arts, and living on the land raising goats, vegetables and chickens. I am a psychotherapist in private practice. In the past I was director of the Northeast Organic Farmers Association of Vermont. Before moving to Vermont I lived in other countries for many years.
I am fascinated by the human psyche, amazed by the wisdom of the moving body, and find hope in the growing worldwide movement for a sustainable planet. In my work as a therapist, I am constantly surprised, for I find our multi-layered human psyche to be endlessly fascinating. I’m amazed at how our experience of being a person changes throughout our lives – and even from moment to moment!
The questions I am now researching in psychology are: How to use body awareness and expressive movement as a way to more deeply understand our experience? How do psychotherapy, spirituality and the imagination intersect? And, what are the ways that psychotherapy can work more on the front edge of social change? The tools I use in my practice are: depth psychology, expressive therapies, self-state therapy, Jungian psychology, and body-oriented psychology.
When I teach Tai Chi, Aikido and Authentic Movement, the question I’m exploring is how we can directly connect to the life force that runs through our bodies and the Earth. I love asking questions and I love working with the questions students are asking. I wonder about everything. What is the nature of the self? What is the meaning of life? I love especially the questions that open up into deeper questions and hold us in that tension between our yearning to experience the world as meaningful and knowable, and our yearning to experience it as infinitely mysterious.
In the 1960s and '70s I put a pack on my back and hitched through Asia, the Middle East and Europe looking for answers. What I found were more questions. I settled in Paris for 8 years – a city that thrives on questions. Returning to Vermont in 1979 I joined the movement for sustainable communities and social justice.
For the past 20 years I’ve been a practicing psychotherapist – a profession that is in love with questions. And out in the country on a hillside, my dream has come true of living on a small farmstead with my spouse, raising goats, chickens and vegetables. Here on this little piece of Earth, I find myself wondering about sense of place and the human spirit, and what happens when they intersect. And what happens when they don’t.
Formal Education: Licensed Clinical Mental Health Counselor; MA in Psychology, Norwich University, 1990; Graduate work in Chinese Studies, University of Michigan, 1966-67; BA in Far Eastern Studies, Earlham College, 1965.
Life Learning: The most important learning experiences for me have taken place outside of the university. I have learned from people and their stories in many different places from an Appalachian coal mining camp where I lived as a community organizer, to the rainforests of Borneo where I had the privilege of being invited into tribal villages. I learn from the honesty and openness of my clients in my therapy practice. And, of course, I learn from you, the students and faculty members of the Goddard community who don’t stay with the easy answers, who celebrate the imagination, and who do things that really matter to you and to the world.
MA in Psychology, Norwich University; BA in Far Eastern Studies, Earlham College.
Residency Sites: Plainfield, VT
The twin pressures of motherhood and a demanding landscape pushed me into writing 25 years ago, and I haven't stopped since. The Wyoming land continues to sustain my creative work, even though my children are now grown. I also have been teaching in one setting or another since 1971 and find that teaching and writing work together to form the biggest creative matrix for my life. I have been teaching at Goddard since 1995. I also teach English Composition at all levels and Literature at Sheridan College in Sheridan, Wyoming. For thirteen years, I ran a writers camp for teens, and found it hugely enriching and exciting work. My first book of poetry will be published by High Plains Press in the summer of 2004. I have also published poetry, fiction and non-fiction prose in many small journals and anthologies. In my teaching, regardless of the level, I concentrate on the intersections between art and craft, the interaction between the individual's vision and portrayal of that vision. I enjoy working with students in a variety of genres.
PhD in Creative Writing, The Union Institute; MEd in Special Education, Antioch University; BA in Art, the University of California at Santa Barbara.
Alumni, Staff, Trustee
2012 Alumni Outreach Coordinator, Goddard College
June 2010—2012 Goddard College Plainfield, VT
Library Assistant Contact: Clara Bruns
- Support Reference Librarian and Materials Acquisitions Librarian.
- Staff Circulation Desk, assist students, reshelve books, etc.
- Receive and fulfill archive requests.
- Research and curate historical exhibits.
- Manage Art Collection and art database.
- Curate Art Exhibits.
October 2011—Present* Goddard College Board of Trustees Plainfield, VT
Staff Trustee *three year term
2009—Present Goddard College Art Committee Plainfield, VT
January 2006—June 2010 Goddard College Plainfield, VT
Mail Room Coordinator/Library Assistant
Contact: Clara Bruns—802-454-8311
May 2005—January 2006 Turtle Creek Builders Ltd. Warren, VT
Carpenter Contact: Dave Kerr, Supervisor—802-223-1468
March 2004—April 2005 Mountain Café Montpelier, VT
Head Cook/Manager Contact: Michelle Sipka, Owner—email@example.com
Duties: As the head cook and manager of the café I had to keep inventory, make orders, cut checks, make prep lists, do the prep, direct other employees, run the line, clean up, do the dishes, pay-roll. I also oversaw an extensive renovation of the kitchen, price analysis, installation of the safe and security systems, helped develop store policy, etc.
June 2003-March 2004 SAIRS Construction Woodbury, VT
Carpenter Contact: Jon Sairs, Owner 802-456-8165
December 2001-May 2003 Beau Jacob Builders Wexford, PA
Assistant Supervisor Contact: Tom Brown, Supervisor 412-780-0395
Duties: Managed subcontractor accounts, supervised jobsites, ordered materials, handled inspections, prospective clients, onsite work including experience with heavy equipment and general carpentry.
January 1999-December 2001 Goddard College Work Study Plainfield, VT
Writing Center Tutor Contact: Carol Dickson firstname.lastname@example.org
December 1997-December 1998 Goddard College Work Study Plainfield, VT
Technical Services Contact: David Ferland 802-454-8311
B.A., Goddard College, 2001
Founding Member of the Golden Dome Musician’s Collective & State and Main Records Label.
My writing focus at Goddard was to become a playwright. I'd always felt quite alone in my dedication to writing. No one I knew worked at it the way that I did or thought about writing as I did. And, everything I wrote was amazing. It was like being five years old and having every creation pinned to the refrigerator. Going to Goddard not only introduced me to people who were serious about their writing, but also helped me to find the critical skills I needed to continue to grow. I honestly feel it would have happened nowhere else. To say that my experience at Goddard has changed my life is an understatement!
Residency Sites: Plainfield, VT
I treasure the opportunity to be a part of the HAS program at Goddard, where creativity, passions, ways of knowing, and dreams and concerns for our world and ourselves meet in vibrant collaboration. This is a place of deep honoring, curiosity, engaged conversation, mindful interaction, and commitment to collective well-being and transformation. Each of us participates as both learner and teacher. As a faculty member, I delight in nurturing that fertile growing edge of each person, sharing resources, diving into the depth and breadth of their cherished interests and concerns, witnessing the emergence of human beings and their studies that are unique and glorious expressions of their particular gifts.
I have worked for the past 25 years as a psychotherapist, teacher, and community organizer, in settings which include a prison, family therapy center, community-based counseling and action centers, universities, and private practice. Expressive arts therapy (particularly sandtray therapy, writing, family sculpture, authentic movement, drawing, and painting) is among the modalities I teach and practice. I see imagination and creativity, which infuse experience with beauty, mystery and wisdom, as humanity’s participation in the universal activity of creation that is life.
Another of the health-sustaining interests that fire my spirit is community: intentional communities, community ritual and celebration; mutuality of care and respect, reliable holding environments for making transitions through the lifespan, alternative egalitarian economies, restorative justice, healing communication and public dialogue, community involvement in social change and response to trauma, global community initiatives, interspecies community, and ecological identity and sustainability. I am currently collaborating with others in my part of Maine to create an alternative economy and an annual festival, which will integrate healing arts, applied arts, Puppet Theater, and rites of passage in celebration of and deeper communion with the natural world.
Educationally, my doctoral study was in ecopsychology. This work led to studies in psychology and transpersonal psychology, deep ecology, Native American traditions, Eastern faith traditions, feminist studies, and expressions of the shifting paradigm in consciousness, power and knowledge, relatedness, linguistic discourse, education, addiction, health care, and mental health care.
In divinity school, I engaged in cross-cultural, interdisciplinary studies of health and meaning making as they relate to medical practice, public health, mental health care, addiction, sacred ritual, education, and death and dying.
While Kundalini Yoga and anthroposophy (which underlies Waldorf education and biodynamic agriculture) are central spiritual practices and philosophies I have drawn from in my practice and teaching, I have studied and practiced a wide variety of approaches to yoga and meditation. Other healing modalities have included tai chi, acupuncture/acupressure, Ayurvedic medicine, exercise physiology, holotropic breathwork, nutritional therapy, anthroposophic medicine, homeopathy, EMDR, critical incident stress management, herbal remedies, and psychosynthesis. I have found illness, too, to be a powerful teacher.
I love to garden, paint, swim make and fix things; listen to rain, wind, birdsong, trees, and peepers; watch chipmunks, moose, flowers, mists, and the changing light; and celebrate life with ritual, food and friendship.
A thread running throughout all of the above is a profound concern with cultivating peace within and among us; grappling with questions about human nature, cruelty, suffering, and life-affirming response to them; examining the assumptions and dilemmas built into our social structures toward rethinking and transforming them; and restoring deep connection, wonder, and reverence in relationship with all of life.
Additional training: Kundalini Yoga Teacher Training, Kundalini Research Institute; Life-Span Clinical-Developmental Psychology, Clinical-Developmental Institute of Harvard Graduate School of Education; and Gestalt Therapy, Boston Gestalt Institute.
PhD in Ecopsychology, The Union Institute; MTS in Religion and Culture, Harvard Divinity School; MA in Psychology, Goddard College; BA in Art History and Sociology, Northwestern University.
Faculty Publisher, Staff
Residency Sites: Plainfield, VT
My interests as a writer have always had an international focus, and my plays, musicals and screenplays have often used theatrical conventions and forms from around the world to explore contemporary American subjects.
For example, I have written a Japanese Noh Drama about Elvis Presley (Blue Moon Over Memphis); a musical comedy inspired by world mythologies and Saturday morning cartoons (Coyote Goes Salmon Fishing); and a contemporary drama about the aftermath of terrorism written in the form of a Greek tragedy (The Women of Lockerbie). My play, Into the Fire, draws on the methods of magic realism from Latin American novels to dramatize life in an Alaskan fishing town.
This eclecticism informs my teaching. I try to expose my students to conventions and techniques found the world over in order to build a flexible tool kit that will help them create works that can speak to our global community.
I take a “mechanics” approach in my teaching as well. I like to rip apart plays and movies to see how they work technically and I encourage my students to do the same. I believe that there are no limits to what you can do on the stage, screen or page.
I also believe that the audience is quite adventurous. This comes from producing theater in Alaska for 15 years. I was one of the original company members and the producing director of the Perseverance Theatre, where I learned over and over that audiences will follow you just about any place you want to go provided you prepare them through your craft for the journey.
Recent works include: The Poetry of Pizza, a comedy about love, which is currently being produced in regional theatres around the US; The Blue-Sky Boys, about NASA's Apollo engineers, which will premiere at the Barter Theatre in Virginia in 2010, after winning first place in their annual new play festival; The Velvet Weapon, a backstage farce about the Velvet Revolution in Czechoslovakia , written with a grant from CEC ArtsLink and a playwriting fellowship from the NJ Council on the Arts.
I am currently working on three new projects: Crossing Over, a hip hop musical set in Amish country with composer Stephanie Salzman; an opera based on Edgar Allan Poe stories, with composer Patrick Soluri, which has been commissioned by the American Lyric Theatre; and a new play about military families commissioned by Virginia Stage Company in Norfolk, VA.
Previous plays include: The Women of Lockerbie, published by Dramatists Play Service. It was originally produced off-Broadway after winning the silver medal in the Onassis International Playwriting competition and the Kennedy Center Fund for New American Plays award. It is translated and published in numerous languages and is produced each year around the US and internationally. Blue Moon Over Memphis is published in Japanese by Musashino University and in the U.S. by Applause Books in The Best Short Plays of 2004. Signs of Life won the Jane Chambers award and was a Pinter Review Prize for Drama gold medalist. It is published by Samuel French, as is Into the Fire, which won the Weissberger Award.
Screenplays: Covered Dishes, written with a commission from Fox Searchlight and Goat Cay productions; and Mexico in Alaska.
Musical works: Coyote Goes Salmon Fishing, with composer Scott Richards, winner of the 2001 Frederick Loewe Award. King Island Christmas, an oratorio written with composer David Friedman, also the winner of the Frederick Loewe Award, which is regularly produced around the U.S. and was recorded in a cast album by 12-time Grammy winner Thomas Z. Shepard; and Goodbye My Island, also with David Friedman.
MFA in Playwriting, Brown University; MFA in Musical Theatre Writing, New York University's Tisch School of the Arts; MA in Political Science, Kent State University; BA in English and Political Science, Kent State University.
H. Lan Thao Lam
Residency Sites: Plainfield, VT
As an artist working with conceptualizations of history, I am committed to giving form to alternative histories, whether emerging from North America or Asia. I bring attention to detail, sensitivity to materials, and rigorous research methods to each of my projects. I take my cues from a particular site, historical incident, or political issues, and create a project in the medium most appropriate to its context. This has led me to render sculptural forms, full-scale multi-media installations, 16mm film and video, photography, performance and interventions.
Over the last ten years, I have engaged with anthropology and post-colonial studies in the investigation of social hierarchies and power relations. My projects assess history, art and media’s potential for truth-telling and manipulation. Taking conventional viewership to task by using strategies which are related to but do not assume traditional forms of documentary, agit-prop or community-based projects, my work takes up a pedagogic challenge. It asks viewers not to take information for granted, but to question the motives behind how representational choices are made. For me, ethics and aesthetics are always intertwined: political and ethical positions are conveyed, for instance, in how an image is framed or the effect of continuous or fractured time upon the viewer. I do not seek to speak for the subjects of my critical ethnographic practice, but to speak nearby, in the words of filmmaker & post-colonial theorist Trinh T. Minh-ha.
As an educator, I strive to foster an environment where boundaries and definitions can be questioned, pushed, or erased, where students can experiment with how to communicate their changing positions in relation to their times and surroundings. My sensitivity to the inflections that each artist brings to their work invites students to dive into and explore their physical, intellectual, emotional, and creative terrains. The dialogues we share with each other, and with the process of art making, prepares these emerging artists to be self-critical, to be able to articulate what their practice consists of, and to take responsibility for how they represent the crucial issues affecting their lives.
My recent project, Unisex, was a commissioned public art project aiming to map the diverse population of Corona, Queens in New York City as expressed through the voices and daily activities of neighborhood barbers, stylists, and clients. Returning to my former self as a hairstylist, I offered free haircuts at street fairs as a means of connecting with the community. Interactions between the artists and the people of Corona were documented in videos that played at local salons and shops, and the narration for the videos was drawn from interviews highlighting the history of hair grooming as it evolved through socio-economic shifts in the area.
MFA in Visual Arts, California Institute of the Arts; AOCA with honors in Sculpture/Installation, Ontario College of Art.
Anna Hawkins had been living in Hawaii for seven years before deciding on Goddard, wondering all the while whether she should return to the mainland for graduate school. At Goddard she studied Jungian, transpersonal, and Buddhist psychology, and then moved into women's studies and literature, along with an emerging interest in embodiment studies. Since graduating, she has been teaching classes in writing and psychology at Maui Community College. She has continued to write, and has been publishing in magazines.
Residency Sites: Plainfield, VT
I taught at Goddard in the 1990s, and spent those years teaching poets, fiction writers, memoirists and even playwrights while trying to write poems and finishing a book about life on the racetrack. In those early days of what would amazingly become a decade, I was in love with the possibilities in the genres we were teaching because so many students were making manuscripts they couldn’t call one thing. Fiction kept turning into non-fiction, poems kept turning into essays. My fiction students, in particular, taught me a lot in those days because I was anxious to continue my experiment in writing something longer than a poem without abandoning the music I could hear in poems.
In 2002 I fell in love with a human being and left Goddard to explore my new life of someone else in it because I had a life that only had me in it for a very long time which is probably why I got so much writing done. Some of it was good, I think. I was writing poems here and there then but mostly, if I remember right, I was trying to write essays after having written a memoir. As far as output goes, I had finished one book, Track Conditions (Ballantine) about my life as groom to the Kentucky Derby winner (1984) Swale, and started working on what would become The End of Being Known (University of Wisconsin) a collection of linked essays about - for lack of a more pedagogical way to say it - sex and friendship. The two books are very different from each other and the book of poems I wrote in 1993, 1990 (Provincetown Arts Press), which is my first book, is even more different. That book was my MFA thesis (Vermont College, 1990) and since then I have a new manuscript of poems called, corollary-ly enough, 2001. It is still looking for a publisher and I take breaks from submitting it because every time I look at it I want to change things in it and there finally comes a time when you have to stop or you won’t ever write beyond what you wanted to change to something that has already been written. I’m also writing a book of non-fiction called When I was a Twin which is a meditation on the death of my twin brother and how the world fills with that absence at times that are surprising. It’s a memoir about him and about the life that sort of shattered around him.
In the time I’ve been away from Goddard, I’ve been teaching every summer at the Fine Arts Work Center in Provincetown. Those classes have really kept me tethered to the dialogue I think writers have to have in order to write something truthful about the world. Everybody is an adult, but I always had someone who cried during the memoir class, and I always had someone who left in a huff in the poetry class. Does that give you an idea of how different these forms are? I’ve had private students from those classes as well and every once in a while I get in my car and drive up the Sawmill River Parkway to Katonah, New York to sit with two psychotherapists who want to write poems and talk about poems they didn’t write. They pay me! Imagine!
Teaching and writing for me are two activities that bless each other and dare each other. The way I “learned” to be a writer was to read and to listen (to language and the music of language, and also to the music of music: jazz, mostly). I tell students to read a lot of different kinds of books and find out what the obsessions of the writer are. In that way, they begin to find out what their own obsessions are and how they can write something that is both musical and authentic to how they see and feel.
To paraphrase e.e. cummings: “whenever we think, or know, or believe, we’re lots of other people. It’s only when we feel that we are no one but ourselves.” I think that’s what I would like to help the writer do in a time and in a world that resists that impulse every chance it gets. Writing is a daring and utterly radical enterprise and that’s the joy of it.
MFA in Writing, Vermont College of Fine Arts.
Residency Sites: Plainfield, VT , Residency Sites: Port Townsend, WA
In 1980, I arrived in this country from Cuba. As I was leaving the boat, I was given a can of Coca-Cola. I tried to open it but I couldn’t figure out how to work the tab. Around me, dehydrated Cubans were all trying to figure out how to open these cans. That vision stayed with me for years. Twenty-five years later I wrote a play called Fizzabout Roberto Goizueta, the head of Coke during the New Coke disaster and a Cuban immigrant himself. I realized that to tell Roberto’s story I didn’t have to look far. Roberto’s story is my story. It’s the story of finding your piece of the American dream and not being able to completely understand it or experience it.
Writing a play or a film is a way of giving shape to your past -- those memories that refuse to go away. For me, writing begins with connecting to your past, to who you were. I love writing exercises because they help you discover your obsessions and interests. Whenever I found myself lost in the writing of Fizz, I’d connect to the way the ten year old boy in me saw the irrational world that I had suddenly become part of. I found that my view of that world was not at all different from the way Roberto saw the world during the lowest point in his life.
Having lived a life with its share of randomness, I encourage writers to introduce a little more randomness into their work. I help them infuse their work with energy, a sense of play and naughtiness. I encourage writers to make decisions and not to brood. I am a big believer in the bold theatrical moment -- the angel crashing through the ceiling, the frogs falling from the sky, or a group of Italian men following Monica Vitti around a plaza. Ultimately, I respond to writers who have a great curiosity about life and who approach the work with questions rather than answers.
I received my MFA from Columbia University where I studied with Romulus Linney, Eduardo Machado, and Anne Bogart. My play Illuminating Veronica was workshopped at the Public Theater and produced at the Pacific Playwright’s Project at South Coast Repertory. The play will be published later this year by Broadway Play Publishing. Learning Curve was produced Off-Broadway on Theater Row. It was published in an anthology of the best plays of 2005. Arrivals and Departures was produced at the Summer Play Festival on Theater Row. Displaced was produced at the Marin Theater Company. While at New Dramatists, I was commissioned to write my first film, Journey to Havana. I have just finished adapting my play Fizz for the screen. With my new play, When Tang met Laika (Denver Center Theater Commission), I am exploring the relationship between the Russian and the American space programs and their efforts to build an International Space Station. I am also in the process of finishing a commission for the Atlantic Theater Company about present day Cuba and the mystery of an invisible Castro. My play, Will in Space, about the effect that Pluto’s demotion has on a couple is being developed at Primary Stages. I am the recipient of numerous awards and commissions including a Princess Grace Award and a James Hammerstein Award for my play Union City, which was produced at EST with Rosie Perez.
MFA in Playwriting, Columbia University; BA with honors in Television, Radio, and Film, and in English and Textual Studies, Syracuse University.
Business Office Publisher, Staff
My studies focused on art, theories of change and neuroscience, with additional work in public health education. I began with an interest in bringing alternative health to marginalized populations, and realized that many felt no control, no change to change their lives. During my Goddard work, I became unemployed without notice after 14.5 years with a firm. I used the methods I was studying to help me through this period. My faculty advisors were wonderful and supported this work with positive suggestions, resources and feedback that I needed to accomplish my goals. I had an on-going discussion about Des Cartes’ role in the divorce between body, mind and spirit. I took a different view than is prevalent in the alternative community, and even though my advisor disagreed with my ideas, he supported the discussion we had about it over the better part of a semester. My experience in other schools would have been very different. Goddard creates community very quickly over a residency and does a good job of maintaining it while you work at home. The college is always working to find ways to keep that sense of community. The residencies are amazing – idea factories! Goddard is an amazing place that challenges you to dream and do, where you will work harder and explore more than any other college I’ve ever attended. Imagine being able to explore different disciplines, and bringing them together in a way that is unique to you. It absolutely changes your life and you leave the person you were always meant to be.
Friend of Goddard
Forest K. Davis (1918-2008) graduated from Harvard College before joining the Army Air Force in 1943. Following the war, he finished his studies at Harvard Divinity School.
Forest began working at Goddard College in 1950 as Director of Admissions and Records under Royce “Tim” Pitkin. For the next seventeen years, he served in a variety of roles: Head of Records, Philosophy Faculty, Dean of College Administration and finally, Dean of Greatwood. Forest left Goddard in 1967 to work at Wilberforce and Empire State College until his “retirement” in 1983.
Forest also founded Adamant Press, a publishing house that specialized on educational theory. He wrote and published Things Were Different in Royce’s Day (1996), earth.goddard.edu, The College Since Royce’s Day (2003) and Goddard Themes: From the Seminary into Recent Times-1863-2005 (2006.)
From 1996 to 2008 Forest volunteered in the Goddard College Archives. He and several other former staff members and alumni were largely responsible for collecting, organizing, and preserving the history of the College.
Residency Sites: Plainfield, VT
I work with a range of students focused on creating healthy personal, social and ecological spaces. I am keen to advise those interested in multiple perspectives-- from sacred ways of knowing to critical inquiry. As an advisor, and colleague, my work is to create sanctuary for the spirit of the learner while pushing students to venture beyond their comfort zones.
Whether exploring comparative healing philosophies--from indigenous to biomedical--or hot topic issues such as global heating or the social determinants of health, my advisees are challenged to grow a contextual social and ecological awareness. On the internal level, my advisees are invited to strengthen their inner vision, voice, and power so they might create and follow a path with heart as they transform communities and create cultures of well being. I approach each learner with a curious appreciation for her or his unique intellectual gifts and creative expression, encouraging personal, practical, and academic study so that scholarship is well grounded in reflection, hands-on experience, integral thinking, and community.
For fifteen years I was the program director of Health Arts and Sciences. I conceived and developed the Health Arts and Sciences: Bridging Nature, Culture, and Healing program in 1995 after observing the compelling work of students engaged in community health and healing studies. That early student and faculty work nurtured the vision of Health Arts and Sciences such that it became a program of learners interested in strengthening the roots of health on personal, collective, and ecological levels. Before founding and directing Health Arts and Sciences I taught and advised at Goddard (twelve years). My courses and areas of study include(d): ethnobotany; herbal medicine; community health systems and transformations; women’s health; cross-cultural perspectives in health; social-ecological perspectives on health; and the hand-made world.
Before coming to Goddard I taught an intensive summer course called Community and Holistic Health at the Institute for Social Ecology (eight years), consulted for the "Alternative Medicine Task Force" with U.S. Representative Bernard Sanders, and co-created and toured with an eco-spiritual public performance called, Turtle Island Visions and Soundscape. I created a short documentary film on the People’s Health and Wellness Clinic in Barre, VT, was a health educator at the Fort Totten Reservation in North Dakota, Renz Women’s Prison in central Missouri, and Community Garden project for low-income groups and immigrants in Columbia, Missouri. In one of my fondest memories, I helped sow the seeds for the bioregional movement in North America. I’ve also owned or operated a number of food businesses, from the Catalpa Tree Café to Front Porch Pies.
My ongoing professional engagement includes educational design and consulting. I helped launch the EcoVersity program for sustainable living in Santa Fe, New Mexico and helped create the first local Bioneers conference in Montpelier, Vermont. I created and/or co-facilitated three of Goddard’s travel intensives including, China, the Healer in Beijing, Wisdom of the Elders in Southern Mexico and the Big Island, Little Planet travel intensive in Polynesia. In 2011 I co-founded and serve on the board of directors for a non-profit, Ayllu, Inc., devoted to place-based and indigenous ways of knowing and inhabitation. I am currently working on the design of an audio-visual program about a maverick, international health non-profit called Flying Medical Services. They bring health care to Maasai settlements in N. Tanzania and provide emergency evacuation flights to regional health centers and hospitals when necessary.
The Green Mountain forests in central Vermont have been my home since 1984. At home I operate a small-scale homestead project crowded with fruit trees and berries, organic gardens, medicinal herbs, flowers, a small vineyard, and mushroom farmette. My newest installation is a stone and thyme meditation garden involving river stones collected throughout Vermont’s watersheds. I’ve written federal grants to replant indigenous flora throughout my 18-acre woodland home. I’m inspired to study place-based arts as it relates to nature. Between Goddard, the homestead, critters, gardens, and being with my teenage son, life is good.
MSPH in Public Health, School of Medicine, University of Missouri; BA in Environmental Studies and Community Health, University of Missouri.
Alumni, Donor, Trustee
Professor Emeritus, Miami-Dade College
Ormond Beach, FL
Cliff is a 1965 graduate of the Residential Undergraduate Program (RUP). He has spent his entire career in higher education, attending masters and doctoral programs at the university of Illinois and Rutgers University respectively, appointment as professor of Sociology at Miami-Dade College (1968-2003) as well as adjunct appointments at Florida International University and the University of Miami.
Later in his career, he left the classroom to become a lobbyist for Miami-Dade. He served on the Board of Directors for the Florida Association of Colleges from 1987-1998, chaired its legislative advocacy effort, and has been on the Goddard Board of Trustees since 1998, his way of giving back to the College that transformed his life.
Cliff also has had brief forays into administration with interim appointments as Chief Academic Officer at Goddard in 2000 and as Provost at Florida Keys Community College, 2007-2008.
Cliff has a passionate love of all things aquatic--marine life, water sports, beaches, and boats. He holds a Coast Guard-issued 100-ton commercial master's license.
Residency Sites: Plainfield, VT
One of the things I find most exciting about teaching—and about writing—is the process of discovery. As a writer, I believe deeply in connecting with the unconscious mind in the drafting process, in getting at what Robert Olen Butler has called, “the white hot center of you.” In my teaching, I find the discussion of process to be essential and find immense satisfaction in helping writers to discover what is inside each of them. I was fortunate to have the guidance of experimental writers as a graduate student, which was a serendipitous piece of good fortune. There I was encouraged to continue to push my work in a non-traditional direction, which I’ve often said might have happened on its own, naturally, but was certainly sped by their sensibilities and guidance. While I don’t advocate for experimentation for its own sake, I do encourage writers to take risks—to be bold—for it is only through risk that we can experience growth. These risks can of course happen within the realistic tradition, and I continue to find bearing witness to a student’s growth one of the most rewarding aspects of teaching. In September of 2012, my sixth book of fiction, The Giant Baby, was published by Open Door Gemma Media, and my seventh novel, The Blue Girl, is forthcoming from Coffee House Press. Currently I live on Long Island with my husband and two children; I also teach in the low residency MFA program at Lesley University. Websites: www.lauriefoos.net http://www.southeastreview.org/2007/foos.php
MFA in Creative Writing, Brooklyn College; BA, Binghamton University
Business Office Publisher, Staff
Hubert Tino O'Brien
Tino O'Brien is a Senior Consultant with Brimstone Consulting Group, LLC. In his 25 years of management and consulting experience, Tino has designed and delivered innovative change programs on several continents to clients such as Accredo, Ford Motor Company, Georgia-Pacific, IATA (International Air Transport Association), Pfizer and Shell Oil. His work in training managers and executives has focused on analyzing existing operations and implementing strategies and processes to improve organizational performance.
Prior to his work with Brimstone, Tino served as Manager of Human Resources for Ben & Jerry's Homemade, where he created and led the Human Resource organization at their primary production facilities. Before that, Tino was the Director of Human Resources at the Hurricane Island Outward Bound School in Maine.
Tino has a background in education and has taught in and consulted with schools, non-profits and small businesses in New England. His clients have included Burton Snowboards, Country Home Products, Vermont Natural Resources Council and Camp Dudley. He served for six years as Chairman of the Board of Directors of the Central Vermont Community Action Council and presently serves on the Board of the Vermont River Conservancy.
Tino received a BA in Psychology from Princeton University, and an M.Ed from the University of Massachusetts. He is fluent in Spanish and has lived and traveled extensively in the Middle East. Tino lives in Montpelier, Vermont with his wife, where he hikes, skis, snowboards, canoes and works with several conservation organizations.
Cecilia M. Espinosa
Residency Sites: Seattle, WA
I was born in Ecuador, South America and I have worked in the field of bilingual education since 1989. I have worked for many years as an early childhood teacher in multi-age, bilingual kindergarten through second-grade classrooms in Phoenix, Arizona. During these years, I presented at national and international conferences and published articles and chapters about teaching and learning in a bilingual classroom. In 1997, I left the classroom to coordinate a Title VII grant with my school colleagues and we developed a dual language program that strove to put teachers and children at the center. The core of my work with bilingual children and teachers, has been with Prospect’s Descriptive Processes at the Prospect Center for Education and Research in Bennington, VT.
Now as a teacher educator, I continue to work alongside bilingual teachers and children and often utilizes the Descriptive Processes in my teaching and research. My areas of focus are on collaborative research, in particular issues of literacies and biliteracies, teacher learning communities, the interconnections between art and literacy in an emergent curriculum in a preschool setting. I have taught courses on observation and assessment, teacher research, inquiry and literacy/biliteracy. For the last two years, I have lead writing seminars for teachers through the New York City Writing Project.
I have been published in the National Council of Teachers of English journals, Language Arts and Primary Voices, and in international journals such as, Lectura y Vida and Revista Mexicana de Investigacion Educativa. I have also collaborated with Carini et al. in writing sections of the book, Jenny’s Story: Taking the Long View of the Child. Currently, I am an Associate Professor in the Department of Early Childhood/Childhood Education at Lehman College, City University of New York.
PhD in Language and Literacy from Arizona State University, Tempe Campus; MEd in Elementary Education with endorsements in English as a 2nd Language & Bilingual Education, Arizona State University; BA in Elementary Education with emphasis in Early Childhood, Arizona State University; AA in Early Childhood Education, Scottsdale Comm. College.
Goddard provides a unique educational experience—largely self-directed--in a unique format that allows each student immersion in their study interests. My three foci were visual arts and spiritual practice within the context of honoring international humanitarian agencies. My faculty advisors were collegial and supportive, and they prompted greater depth and breadth in my work. The residencies were an opportunity to build community with amazingly talented artists in all disciplines from around the United States and Canada. Some will be life-long friends. My practices are now part of my daily discipline.
Residency Sites: Plainfield, VT
I was born on the Oregon Coast and raised in the Pacific Northwest. After thirty years in Brooklyn, New York, I still “belong to the lesser coast, the greater ocean” (as a poem of mine puts it). How to hold onto both lyrical and political impulses, how to dwell at the conjunction of imagination and craft without giving up on the need to change reality—this effort has informed my writing in many genres. I got my start as a published writer in the lesbian feminist literary movement of the 1970’s, where my editorial work on the journal Conditions taught me the skills of constructive criticism that I now employ as a teacher. My books include three poetry collections; a short story collection; two novels; a collection of essays and reviews; and, most recently, the memoir Apples and Oranges: My Journey through Sexual Identity (Houghton Mifflin, 1999). My poems and stories have appeared in such literary journals and anthologies as Another Chicago Magazine; Bloom; Calyx; An Ear to the Ground; Fence; For a Living: The Poetry of Work; Hanging Loose; The Hat; The Kenyon Review; Luna; Ploughshares; Red, White, and Blues; and Xconnect. I’ve written reviews and literary journalism for Ms., The Nation, Poets and Writers, and The Women’s Review of Books. Awards include an NEA fiction fellowship and a New York Foundation for the Arts fellowship in poetry.
Complementing my work at Goddard, I teach creative writing at Eugene Lang College, a division of New School University. In working with MFA students, I always keep in mind the lessons of critical consciousness and democratic dialogue that stem from a lifetime of community activism centered on social justice issues. My epistolary conversations with advisees about their writing have to do with, on one hand, identifying pre-existing strengths in the work and figuring out how to build on those strengths; on the other hand, I push for consideration of new or under-explored possibilities. I took it as a compliment when a student wrote that she felt “busted” by my probing questions about her creative agenda—“in a good way,” she hastened to add. I think students tend to regard me as a demanding advisor, but also one who really listens and who is equally demanding of herself when it comes to offering a detailed, thorough response combining close analytic reading with a synthetic overview. For a selection of my most recent poetry, fiction, and critical prose, go to Ablation.
MA in Gender Studies and Feminist Theory, The New School; BA in Liberal Arts, The New School.
Residency Sites: Port Townsend, WA
Going to high school in the 1960’s, it was easy to get caught up in the rich mix of music, politics and art of the times. Those times shaped my world-view. I absorbed the tenets of the Black Panther Party, as well as, the beliefs of the Black Arts movement. From those progressive and radical platforms, I learned and internalized that “One should leave their community more beautiful than they found it.”
Since that time I’ve aspired to create environmental artwork that honors, communicates to and inspires communities. I feel very strongly art that can be a source of neighborhood pride as well as a tool for social and cultural development. These fundamental principles guide my artmaking practice and undergirds my educational philosophy.
My home/studio is an old cigar factory in the Frogtown neighborhood (formally called the Thomas Dale community) of St. Paul, Minnesota. From there I create distinct artwork in a variety of mediums, that is informed by research and observations made on several different trips throughout the African Diaspora, to understand how the descendants of Africa shape and order space.
In form, my work has evolved from mural making to abstracted sculptural reliefs on walls to free standing sculptures and sculptural installations. Over the last ten years my practice and career is more focused on public infrastructure, so the materials of my work, are the materials of streetscapes and landscapes. The mediums of my art now include cast concrete, metals, stone, cast paper, wood and clay. My most recent commissions have also become more sophisticated and have required complex working drawings that help translate my ideas to a crew of fabricators. I use Computer Aided Design (CAD) software to create working drawings, pencil and maker illustrations, CAD drawings and maquettes to present my ideas. These skills have aided me in creating 30 large-scale works of art and communicating my ideas as the first artist-in residence for the City of Minneapolis. A role that I’ve held for the last three years.
In addition to this my large-scale public artwork I also work as a scenic designer. I create work for stage much like creating any other large-scale public artwork. My works for stage are sculptural installations that I create in collaboration with a director and many times a group of scenic craftspeople. Most of my theatrical work accompanies plays with non-linear or abstracted themes or ideas. The abstracted texts in these plays compliment my own minimalist aesthetic for visual storytelling. In 1995 the Theater Communication Group and the National Endowment for the Arts recognized my work as a scenic designer with the award of a Designer Fellowship. While this was very important accomplishment, and while my theater work has consistently received favorable reviews, the real accomplishment is that theaters and directors continue to ask me to collaborate with them to create works for stage. In fifteen years I’ve created over 25 works for stage.
To increase my knowledge of plant materials I enrolled in the University of Minnesota’s Extension Program’s Master Gardener Core Course, which provided a foundation in soils, botany, entomology, plant pathology, herbaceous and woody plants and vegetables. After becoming a Master Gardener, I realized I needed to learn even more in order to use this understanding of the world in my art practice and set out to study landscape design and environmental history. This formal study increased my understanding of the natural environmental and ecological systems.
For ten years I’ve worked with a group of gardeners in Frogtown to “greenline” our neighborhood. The term “greenling” was developed as a counter to redlining, which is the practice of refusing to do business with in low income, or communities of color. Greenlining is the act (sometimes without permission) of increasing the amount of plants and trees in those same neighborhoods. This group of gardeners/activists have engaged in greenlining as a small part of a larger movement towards environmental justice. In fact, we are inspired by the work of Nobel Peace Prize winner Wangari Maathai, whose Green belt Movement in Kenya planted 3 million trees, our modest goal in in 2009 is to plant over 1000 trees in Frogtown.
My educational path has given me new tools to draw from to blend art and nature to create a better world. As a result I am morally committed to the practice of designing an educational program to meet a student’s personal needs. Teaching allows me to share my experience, knowledge and artistic practices with students. What I ask students in return, is to change the world. I believe my experience and world-view matches the goals of Goddard College and the MFA in Interdisciplinary Arts Program.
MLS in Environmental History, University of Minnesota; BS in Landscape Design, University of Minnesota.
Residency Sites: Plainfield, VT
I was born in Knoxville and grew up in Blount County, Tennessee, in the foothills of the Smoky Mountains. Since then I’ve lived in Baltimore, Roanoke, Austin, San Antonio, New York, and now Norfolk, Virginia. I’m the author of three books of fiction: the novel Bitter Milk (2005) and the short story collections Born on a Train (2003) and Stop Breakin Down (2000), all with Picador USA. I won the Whiting Writers’ Award in 2000 following the publication of Stop Breakin Down. My stories have appeared in Ploughsares, The Harvard Review, The Oxford American, American Short Fiction, Tin House, StorySouth, and Grist, among other journals. I’ve been teaching at Goddard since June 2007.
Describing my teaching philosophy can seem almost as difficult to me as writing a novel (which is to say, difficult!) but I’ll try. In a writing class I like to start by asking each student what she most ardently wants to accomplish, so that I can devise an individual strategy to help her see that goal to fruition. It’s my aim as a teacher to foster an environment in which no one abandons an idea simply because its execution seems too strenuous. I urge writers to keep the stakes high in their work and explore without fear, because I firmly believe learning to revise in the true sense of the word—seeing anew—can result in startling and remarkable effects that may have previously seemed impossible. A great teacher of mine, the novelist David Bradley, organized the class I took with him around the principle that “Anyone can write; professionals revise.” When I tell students that I throw away more than ninety percent of my own output, it gives me a platform for encouraging them not to deem a page precious simply because they’ve written it. Several times I’ve taught specialized revision workshops that aim to revise how students think about revision, starting with the etymology of the word revision itself. A writer brings in a story that has lain untouched awhile; after it has been examined, the class generates assignments for new scenes, conversations, and descriptions that must be written. Given a story in the point of view of X, who murders her husband Y because he's been sleeping with her sister Z, the class might direct the author to "write the scene where X goes to buy the rat poison," or "write a paragraph in Z’s POV describing Y physically," or "write the scene where X, Y, and Z all head to the beach to play mini-golf," because while these are experiments rather than prescriptions, in my experience the average X-Y-and-Z story draft fulfills only a smidgen of its tragic, comedic, and situational potential.
I realize it can seem anti-artistic to treat a text as a mechanic treats a car on the hydraulic lift—something to be scrutinized, disassembled to find out what is and isn’t working—but that is how I’ve most often succeeded in revising my own work. As a child I was lucky enough to attend a Montessori school where we literally cut up sentences and arranged the fragments in piles marked adverb, prepositional phrase, noun; sometimes I think back on this exercise when helping students identify elements of a story that help it to cruise forward, lurch, or screech to a halt.
I grew as a writer by paying heed to other writers’ techniques, but I also became a better reader by learning to read like a writer. Once I’d developed a writer’s sensibility, reading seemed to me like an aspect of the craft, as did other activities in my life: observing, dreaming, walking, waiting. Thus I try to impress upon my students that refining how they conceive of the act of writing can transform the very way they regard themselves and the world around them—and of course I tell them I believe this is a consequence to be desired.
MFA in Creative Writing, Michener Center for Writers at the University of Texas at Austin; MA in English and Creative Writing, Hollins University; BA in English, Goucher College.
Faculty Publisher, Staff
Residency Sites: Plainfield, VT
I have been occupied with the creation of images and the birth of performances for the past 20 years. My work can be characterized in a variety of ways - I alternately call myself director, producer, educator, administrator, observer, collaborator, facilitator, leader. But they are all intertwined and the limits imposed by such categories are frustrating; ultimately, no one label makes sense for long.
My formal educational background is in the traditional theater (where I spent many years believing I wanted to work my way up in the regional theater system to become one of the rare female artistic directors). Even as I pursued a 'career' in time-based theater, I was always strangely drawn to static imagery. I took photographs compulsively in college. I believe this avocation helped me see the stage in a kind of storyboard format, and I strive to use the compositional integrity of static images to shape both theme and narrative.
While completing my MFA in Stage Directing, I concentrated heavily on the heightened language of Shakespeare and had the privilege to observe and work with Michael Langham. During this time I found inspiration in the epic, mythic, larger than life stories of Shakespeare, Racine, Euripides, Webster - where the human struggle was exaggerated, stylization and theatricality were inherent to the structure of the work, and where images could be boldly drawn. It is through my investigations of Shakespeare that I began to develop an enthusiasm for layering and contradictions among the visual, textual and performative elements of a single production, always in a search to understand the contradictions in our relationships.
Perhaps because of the nature of "directing", as a creator, I thrive on collaboration. All of my work has been built in close partnership with others. I find it impossible to claim anything I have done as entirely my own and I mistrust the very notion of singular authority. My greatest creative energy comes when there are many voices contributing, and I am at my best when I am able to forge these often diverse practices into a cooperative vision.
My current passion lies in the changing nature of contemporary performance, where I apply both my facilitative skills and the crafts of traditional theater to performative experiments. I believe in beginnings, middles and ends - though not necessarily in that order. I am endlessly fascinated by the myriad ways in which 'stories' can be told. I've worked closely with playwrights and performance creators as a director of readings, works-in-progress and first productions. From 1999 through 2003, I served as the Artistic Producing Director for 3 Legged Race New Theater & Performance, an organization dedicated to the acceleration of invention in new performance. Named "Best Theater for New Work" (City Pages Arts Weekly) and honored by the Minneapolis Star Tribune for "Outstanding Experimental Performance 2003", 3LR earned a reputation for unexpected artistic commitments, vanguard programming and unusual approaches to merging eclectic performance disciplines.
Outwardly, my leadership of 3LR focused on commissioning and developing experimental works poised at the crossroads of live performance disciplines (including dance, circus arts, puppetry/object theater, performance art and their combinations). Over five years, I produced more than 75 new works by diverse artists from across the country including playwrights, sculptors, performance artists, clowns, choreographers, object-makers, aerialists, puppeteers, composers and curious people of all kinds. Working alongside such an incredible range of personalities and aesthetics, I became interested in how it is that artists make good work. What are the tools, the resources, the support systems and the environment that allow for creativity to flourish? What does this artist need that is different from what that artist needs? What makes a dynamic process? About art and art making, I believe that: Collaboration and constant exposure to new ideas keeps work fresh, present and alive; Risk and the failures that inevitably go along with it are a necessity; Experimentation with form, and particularly with methods that are beyond one's comfort zone, lead to unexpected discoveries. Both as a producer and when working with students at all levels, these are the issues I now consider most.
I am deeply interested in social systems, organizational structures, effective and alternative leadership and the complexity of human relationships. This preoccupation runs through all of my work, from my obsession with the crafting of a nuanced relational moment on stage to my passion for building flexible, responsive systems capable of nurturing and sustaining creativity. How might we work together toward change, toward vision, toward possibility? And, how might we do it even better?
Other points of interest - I am an affiliate faculty member in the Master of Liberal Studies Arts and Cultural Leadership program and the Department of Theater and Dance at the University of Minnesota where I have taught directing, creating the performance, dance production, issues in arts leadership and other courses over the past 13 years. I teach motorcycle-riding skills at community colleges and have become enchanted with the social dynamics of 'motorcycle culture'. I am a committed partner, a lover of dogs, a homeowner, a gardener and a proud Martha Stewart fan.
MFA in Stage Directing, University of Minnesota-Twin Cities; BA in Performance and English, Evergreen State College.
Before Goddard Susan Moul was working as a business consultant and had just been certified to teach yoga. Her thesis, The mouth of the body, beginning with mine, was a collection of essays that cover the range of approaches to embodied self awareness she investigated during her semesters at Goddard. She is now a senior member of the Healthy Living Faculty at Kripalu, where she teaches workshops in yoga, meditation, and embodiment.
Susan: Initially I had taken yoga teacher training to support my personal yoga practice, but then I realized I wanted to take this new thing and open up my life with it. I found to my surprise that I actually did want to teach, and I wanted to reestablish my writing practice as well. I chose to do graduate work in order to be able to do what I wanted to do credibly and substantially.
Upon realizing I wanted to do an MA I knew I wanted to do it at Goddard. My whole life I'd had the sense that Goddard is where people go to become revolutionaries. And I knew I would learn what I needed to learn and it wouldn't be about just running all the bases to get the piece of paper. I knew I would be designing a course of study tailored specifically to the work I wanted to do.
I wanted to destabilize a lot of the conversation and questions that arise out of taking something called a 'mind' as separate from the body. My experience with yoga and with writing had led me to feel that the wrong questions were being asked. I didn't want to know or to teach 'how' a body 'works'; I wanted to know (and still want to know) what a body is. Graduate work helped me to get a basis for pursuing this question.
My work was highly interdisciplinary and the low residency MA in Individualized Studies Program's framework supported me in this; I drew not only on physiology and philosophy but also on neuroscience, physics, mathematics, poetry, and literary and art criticism. I was also able from the first semester and throughout the course of my studies to explore connections between theoretical investigation and writing. Based on much that I was encountering in attempting to understand cognitive structure, I including in my writing practice experiences such as self video, which let me investigate narrative pause. I continue to evolve the style of writing that emerged from this exploration.
Goddard's low residency MA in Individualized Studies Program was the perfect environment and natural midwife for my work on embodiment and embodied writing. There was aesthetic rigor in combination with nurturing, intelligent, close reading of my work. I received direction and guidance in combination with faith and support for finding my own way.
I now do curriculum development and program development for Kripalu, and design and teach my own workshops. No matter what I teach I'm still studying what I was studying at Goddard. I also apply the Goddard model in my teaching here: supporting students in choosing a path, discovering how to make it real, and seeing it through.
From convection / further notes on the body as a spiritual vehicle, a piece Susan wrote during her third semester in the program about a Gabrielle Roth dance workshop:
a day of body moving through seven hours of dance at one point well over an hour without leaving off even to take instruction or water
one hundred people
at some point an outside door is opened for half a minute and our bodies are revealed as great clouds of steam I feel/ a literal awe
what is ecstasy
in lyrical movement our bodies exceed the limits of faith the ends of belief the experience of experiencing motion/ evolves because nothing stops it that first exercise of walking now the basic tenet of self knowledge the room a steady pulsation of natural breath that has not known the spectrum of judgment that ranges from inhibition to uninhibited it/ is a free breath born in a free body a/ free land
You do not have to regard the watcher as a villain. Once you begin to understand that the purpose of meditation is not to get higher, but to be present here, then the watcher is not efficient enough to perform that function, and it automatically falls away.
the fifth rhythm is stillness / a rhythm whose living is in the breath
calling you into spaces between the beats, between your bones, between your moves. Your body shifts through many shapes, sometimes holding them, feeling their vibration, sometimes letting them go. Your attention is drawn to your inner dance, where everything is alive, awake, aware.
what I learned was if I wanted to hang on to my story I could and no one would stop me or want to stop me unless they were also hanging on to a story and then our energies would tangle up somehow we'd collide we could get fluid we couldn't find the space we made with our own movements but only the increasingly sharp edges of the stiffness the rigidity of the form/ I
found that I could go on insisting on this thing or that about myself it was not difficult to maintain the sense of being clumsy if I wanted that or the memory of violence if I couldn't bear to be without it
that somehow in struggling these issues I'd increased their strength I'd insisted on them / by wanting to stretch them and make some room for myself by finding ways to engage or improve the situation I had inadvertently or perhaps/ it occurred to me then/ deliberately/ made them stronger resilient to change all weather wear that
made my weaknesses and idiosyncrasies and neuroses color the experiences so that I came to see that solidity as the world and to see that as myself and that I lived in the concave convex flux between this diaphragmic self world boundary/ an
utterly nonexistent boundary that I created with my own body that I lived as a body and re inscribed with every movement
when the possibility existed every single moment of letting it go
The breath is strong the vitality intense. The time is now, the place here. Every gesture is total, measured, your body full of breath, your look direct.
a gasp an intake of air a freshening to life and a dance that sloughed off the accumulation of habit and
if I did these things/ danced for three days with total strangers stripping and stripping and letting go of stripping/ if I did this and did not accept that it could change everything then why was I doing it/ if I
did this practice this dance these rhythms this re patterning of every wave of my own energy and did not allow the reality within which I experienced them to acknowledge the character of their pervasive reality the truth then I could simply go home afterward and have had a good time/ something out of which to make a memory
eventually slow I/ find my self moving through broad and gently tapering circles of sacrum knees hands and shoulders rolling bones and gluts across the floor the relationship of hip to arm returning me at angles to standing the understanding of limbs and back muscles folding me again to the floor and after awhile each time I'm on the floor I find I stay a bit longer/ we
are all on the floor there is a long period of meditation and integration
coalescence arises/ writes patanjali in the yoga sutras/ and the body and the infinite universe are revealed as indivisible
He'd asked his father on his deathbed, "What was the most important thing in your life, the Torah?" And the old man had answered, "My body." "I was stunned," his son now told me. He stared past me in awkward silence and finally said, "I always thought my body was just a vehicle for my mind; feed it clothe it, send it to Harvard."
Trungpa, Chogyam. Cutting Through Spiritual Materialism. Boston, MA: Shambhala Publications, 1973.
Roth, Gabrielle. Maps to Ecstasy. Novato, CA: New World Library, 1998.
Lynn Larned is a school nurse and teacher in an elementary school in Rhode Island. Her goal when she entered the low residency MA in Individualized Studies program was to become a proficient dreamworker. Her thesis, named from a phrase given by a venerable spider in a dream, was about using dreams as a guide for psycho-spiritual growth and recovery. Since graduating, she continues to practice as a school nurse and teacher but her teaching strategies have changed. She has developed assessments that allow her students to use their strengths and interests in individual ways, where students are allowed to be as creative as possible in demonstrating their knowledge. She also facilitates dream groups.
Residency Sites: Plainfield, VT
Residency Sites: Plainfield, VT
I am the author (with Ping Chong) of Cry for Peace: Voices from the Congo, which had its world premiere at Syracuse Stage and was produced at La MaMa Experimental Theatre in New York City.
I am a two-time recipient of the New York Foundation for the Arts Fellowship, including the 2010 fellowship in playwriting (for my play Name in the Street), a finalist for the Princess Grace Playwriting Award (for my play Wind in the Field), and a Pushcart Prize nominee (for my play The Heart of Fear).
My other plays include Fall/Out, produced by the Kitchen Theatre; The Heart of Fear, published in the journal Stone Canoe; and Northeast, which appeared in the journal Callaloo. Armory Square Playhouse produced Portraits, an evening of my monologue plays Theory of Night, directed by Playwright’s Horizons founder Robert Moss, Love Is a Blue Velvet Box, and Spoons, which was previously produced by Appleseed Productions. My one-man play Carver at Tuskegee was produced as part of Syracuse Stage’s BackStory! series.
My writing has also appeared in the journal Folio, among others, and in the anthology Alchemy of the Word: Writers Talk about Writing. I am Drama Editor for the award-winning journal Stone Canoe for which I have edited for publication plays by Kenneth Lin, Rogelio Martinez, and Chiori Miyagawa.
Since 2009 I have been the resident dramaturg for Syracuse Stage and have worked with Ping Chong on the creation of Tales from the Salt City, which had its world premiere at Syracuse Stage, and with writer Lauren Unbekant on the creation of the one-woman play Woman in a Blue Dress, produced by Syracuse Stage and the Everson Museum of Art in conjunction with the Impressionist exhibit “Turner to Cezanne.”
I have served as dramaturg on more than 15 Syracuse Stage productions, including Moby Dick, The Brothers Size, Red, Caroline, or Change, Radio Golf, No Child…, Fences, The Price, Little Women, The Diary of Anne Frank, and Picasso at the Lapin Agile.
I have been Visiting Writer at SUNY Oswego and have appeared as a guest on National Public Radio’s “Tell Me More,” discussing race in American theatre.
In addition to teaching at Goddard, I teach playwriting at Syracuse University and at Colgate University. I hold an MFA in Playwriting from Goddard College. I am a proud member of the Dramatists Guild of America.
MFA in Creative Writing, Goddard College; BA in English with a concentration in Creative Writing, SUNY Fredonia.
Residency Sites: Plainfield, VT
Gender, race and class differences are central to my educational practice. For the past thirty years, I’ve explored how different school settings can use educational research, policy and practice to redress these inequities.
As a counselor in a public high school, I helped students navigate the mainstream school culture as well as to change that culture by bringing their voices and visions particularly of those on the margins to teachers, administrators and parents. I found that often the school culture was irrelevant at best, and at worst, interfered with healthy adolescent development. By examining and challenging my own middle class white privilege, I was better able to analyze an educational culture that inherently privileged students who were white, verbally adept, middle and upper class, heterosexual, native born and fluent English speakers.
Some of my efforts were successful, while others were not. In doing this complex and rewarding work, I found sustenance and empowerment by engaging with others in workshops, courses and institutes who asked the difficult questions about the changing and complex relationship between race, gender and class in the United States. Combined with my experience in the school setting, these opportunities for reflection and support were critical to my personal growth as well as my development as a progressive practitioner. I want to continue creating ways to connect with others who are active participants in their own learning.
At Goddard, I enjoy exploring -- with students and colleagues -- varied strategies that can make schools safer and more effective for all students as learners and human beings. I am committed to bridging the gap between the academic theories that tell us what works best for young people and the reality of their schoolhouse lives. For example, how do we reconcile the new theories on multiple intelligences with the current emphasis on high stakes standardized testing? How do we let the latest research on racial and gender identity theory inform our understanding of the developmental needs of students? This juncture of theory and practice involves thinking outside the box and taking risks by challenging the status quo.
Over the years, I’ve complemented my educational practice with work as a consultant, designing workshops for professional development. These days, I divide my time between an active work life in the Boston area and wonderful time spent in Vermont Northeast Kingdom where I mostly just hang out reading mysteries, kayaking rivers, discovering wildflowers and snowshoeing on deer paths.
EdD in Teaching, Curriculum and Learning Environments, Harvard University; EdM in Counseling Psychology, Boston University; BA in History, Anna Maria College; CAGS in Counseling Psychology, Boston University.
Residency Sites: Plainfield, VT
I am a young scholar and artist with one foot in the academy and one foot hovering over the simultaneously open and dense space that can broadly be called aesthetics (a space whose density and largesse encompasses poetics, performance, and old school stuff like drawing). For the last six or so years I’ve called the work I do “Queer Science Fictions,” or QSF for short. QSF uses a variety of strategies (personal, surreal, and scholarly) to think about and make artifacts related to race, desire, and technology. On the broadest level, QSF thinks about the ways techno science impacts and is impacted by queers and people of color. In my dissertation work at the University of Texas at Austin, for example, I tell stories about chat rooms, addiction, race, publics, fantasies, and violence to think about how desire, difference, and death shape one another in both abstract and everyday ways. I ground these stories in recent local histories that track the disappearance of public spaces, the circulation of sex as a public problem, the effects of HIV/AIDS on gay men, and the increased use of virtual space as means to make contacts and have encounters.
My dissertation project, like most of the work that makes up QSF, is interested in liminal spaces and bodies and things, in the bleed between real and virtual life, between public and private, between hybrids and perverts, between desire and death, and so on. If this brief biographical sketch regarding my interests seems unclear, let me be more to the point: I am well-trained in “strong theories” that critique racism, sexism, homophobia, imperialism and other technologies of power and normatively which render forms of difference as problems requiring management, commodities to be branded, or pathologies demanding treatment. I therefore welcome working with students who are interested in learning more about the theories and everyday politics of race, gender, sexuality, and globalization.
At the same time I continue to work from and with these strong theories, I have also begun to open myself up to the possibilities represented by “weak theories,” the speculative and adventurous strategies whose routes and conclusions are rarely predetermined and often unpredictable. Opening myself up to weak theories means that I have increasingly made space for my heart, intuition, and empathy in all the work that I do. However, I rarely, if ever, know where these things will lead me; I wander and sometimes get lost. My commitment to “weak theories” thus means that I am also very interested in working with students with backgrounds in creative writing, art making, and performance (or those who are interested in such practices) who are looking to deepen creative practices with scholarship or who are looking for ways to make their academic work more creative.
Whether working in traditional or creative academic contexts, I believe that my responsibility as a teacher is not to spoon- or force- feed but to facilitate and encourage the fruitful exchanges of ideas and the production of work so that I and the students with whom I work can grow more fully into ourselves. Currently, I’m reading 1970s science fiction and Shakespeare. I spend a lot of time these days thinking about longing, loss, immanence, intelligent design, and infinite possibilities. I’m also working on professionalizing myself within the academy (student loans don’t pay themselves). When not working or daydreaming, I’m doing yoga and swimming.
PhD in Social Anthropology, University of Texas at Austin; MA in Social Anthropology, University of Texas at Austin; BA in Studio Art, Grinnell College.
Residency Sites: Port Townsend, WA
In many ways, teaching at Goddard represents a return to form for me. During the summers after fourth and fifth grade I attended Young Authors Camp at Fort Casey on Whidbey Island, luxuriating in Native American folklore and my roommate's poems about stinky feet. The sweetest part was that the soccer camp kids had to live in the barracks while the Young Authors camp kids stayed in the officers' mansions. I'm pretty sure this is the one instance in the history of American summer camps when creative writing has been afforded more prestige than athletics. I was able to recapture the wonderment of those camps when I worked on my MFA through Bennington College's low residency program, and later during a stay at Yaddo. I thrive in immersion.
I am the author of The Littlest Hitler, a collection of short stories published in September 2006. The title story has been adapted for the stage by a number of high school drama clubs, translated into Italian, nominated for a Pushcart Prize, and included in a college English composition text book. My novel, Sperm & Egg, is scheduled for publication in April 2008. Depending on what day it is, I'm working on a new novel, another collection of stories, or a collection of essays. I also recently completed a screenplay. My work has been anthologized in two editions of The Best American Nonrequired Reading, The Better of McSweeney's (UK edition), Don't You Forget About Me: Contemporary Writers on the Films of John Hughes, and Stumbling and Raging: More Politically Inspired Fiction. My stories and essays have appeared in McSweeney's, Black Book, The Mississippi Review, Post Road, The Los Angeles Review, and other journals.
For the past eight years I have worked for Internet technology companies. I served two tours of duty at Amazon.com, first as a Customer Service rep answering phone calls on the 2pm-11pm shift. More recently I was an editor on the DVD team. I've also worked at Microsoft, Drugstore.com, and online education company Apex Learning. One of the focuses of my undergraduate education at The Evergreen State College was media theory and history, and it has been fascinating watching the Internet change our culture from one of the best seats in the house.
I am a First Amendment absolutist. I believe in creative freedom. Let the writing answer to the writer's vision, and damn the torpedos. That said, the work is incomplete without a reader to complete the circuit. This relationship between writer and reader is sacrosanct to me. I find the ways in which our best selves strive to treat one another correlate to how we treat our readers and even our characters. I am one storyteller in a tradition of storytelling that stretches to the days we lived in caves, and I find it an exhilarating and rewarding responsibility to take readers by the hand and show them something that will--I dearly hope--blow their freakin' minds.
MFA in Creative Writing, Bennington College; BA in Creative Writing, The Evergreen State College
Residency Sites: Plainfield, VT
I am passionate about creating a sustainable, cooperative culture. To me this means working for social and ecological justice, restoring damaged ecosystems, and creating modes of production and living that meet human needs while increasing ecosystem health and social well-being.
My professional experience is mostly in the fields of education and the environment. In graduate school I studied the history of science, medicine and technology, with a focus on environmental history and the history of sustainable technologies. I wrote my dissertation on the history of technologies used to transform human excrement into fertilizer in the U.S. in the 19th century. Through this study I gained a solid understanding of U.S. agricultural and public health history. I love applying the lens of history to my work in sustainability, because I believe that we need to understand the historical roots of our current problems in order to solve them.
I’ve worked as a sustainability educator in both academic and community-based settings. I’ve taught college courses in environmental science, environmental studies and sustainable development. In my local community I coordinated an environmental job training program with an innovative curriculum in environmental technology for unemployed city residents and I currently teach permaculture workshops.
I am also involved with two land trusts that promote sustainability. Since 1993, I have been a member of School of Living (www.schoolofliving.org), a community land trust that holds land in Pennsylvania, Maryland, and Virginia and organizes educational events on topics related to sustainable living. I currently serve as their Executive Director. The other land trust is the Gunpowder Valley Conservancy (GVC, www.gunpowderfalls.org), which conserves land in my local watershed and conducts restoration and education programs. As Development Director of the GVC I write grants and support the implementation of projects. My work with these two organizations has given me experience with nonprofit organizational development, strategic planning, and fundraising, which are essential for creating organizations that can implement and sustain community-based sustainability initiatives.
Since 1993 I have lived at Heathcote Community (http://www.heathcote.org/cms), a small intentional community in Maryland, where we practice permaculture (ecological design) and cooperative processes such as consensus decision making. I work in the gardens and am currently helping to develop a sustainable farming business on the land. For me, living in community is a way of creating social change. It has give me the opportunity to participate in social systems that are egalitarian and collaborative, gain practical skills in sustainability, and be supported in personal healing and transformation.
Anti-oppression work has always been important to me and I strive to integrate it into everything I do. One of my main motivations for joining an intentional community as a young adult was the desire to create a way of life that is both ecologically sustainable and free from oppression. At Heathcote Community we work towards dismantling oppression as a long-term goal by educating ourselves about issues of social and economic justice, implementing egalitarian systems and structures within our community, and including social justice as part of our permaculture education curriculum. I’m currently focusing on anti-racism training for whites.
PhD in the History of Science, Medicine and Technology, Johns Hopkins University; PMGD in Organizing Learning for EcoSocial Regeneration, Gaia University; BA in History and Science, Harvard University.
Alumna Mary Johnson (MFAW '02) speaks with Chris Matthews on MSNBC's Hardball on the first night of the conclave, March 12, 2013. Watch the video below!
Mary Johnson is the author of An Unquenchable Thirst: Following Mother Teresa in Search of Love, Service, and an Authentic Life. This memoir tells the story of Johnson's twenty years as a Missionaries of Charity, the group commonly known as the Sisters of Mother Teresa of Calcutta. After leaving the sisters in 1997, Johnson completed a BA in English at Lamar University and in 2002, completed her MFA in creative writing at Goddard College.
Johnson's need for support while writing was the inspiration behind the A Room of Her Own Foundation (AROHO), a group that champions women writers. Johnson serves as Creative Director of AROHO's retreats and is a fellow of the MacDowell Colony.
Her work has been featured in O: the Oprah Magazine, The Christian Science Monitor, The Toronto Post, The Denver Post, Fourth Genre, MORE Magazine, and others.
Mary Johnson on MSNBC's "Morning Joe" March 14, 2013:
Residency Sites: Plainfield, VT
Matt graduated from Goddard's Bachelor if Arts in Sustainability program in the fall of 2012. Matt is the Founder and Executive Director of Long Way Home, Inc., a 501(c)(3) that uses sustainable design and appropriate materials to construct self-sufficient schools that promote education, employment and environmental stewardship. He first came to Guatemala with Peace Corps in 2002, and was stationed in the town of Comalapa during his service. His Peace Corps assignment was to help the local youth avoid drug and gang activity through clubs and other programs. After two years in the Peace Corps, Matt returned to the United States to begin raising money for a new development project inspired by the need he saw in Comalapa. He founded Long Way Home in the Fall of 2004, and returned to Comalapa in January 2005 to launch Parque Chimiyá ,
Residency Sites: Port Townsend, WA
I am interested in 'relationships' of things within phenomena or events. In discovering how relationships have brought us to where we are today, in this moment here and now, perceiving and moving in the world the way we do, and what we do to make ourselves conscious of and conscientious to the choices we make. I am interested in how we can reshape time and space creatively so that we can be living as true and honest as we possibly can while walking this earth lightly.
Based in Canada, I have been a practicing interdisciplinary artist and writer for over twenty years interested in poetics and philosophy. I’ve worked with two and three-dimensional media, found objects, assemblages, collages, performance, interventions, installations, book publications and multiples, audio and music, film, video, and computer multimedia. I have exhibited in Canada, Europe, Japan and parts of the US. My writing has been published in arts, feminist, queer, and literary publications and there are three catalogues about my work available. I have made two experimental videos ‘Remotely In Touch’ (1998) exploring how digital imaging shapes of how we perceive and move in the world, and, ‘Automatopoiea’(2004) exploring sound, ‘machine-being’ and improvisation.
Since 1988 I have organized politically and with grassroots groups within the arts, in feminist, gay/lesbian and 'of colour' community activism. I have worked as a writer and editor in arts and community publications and I have training in graphic arts and printing. I started an experimental gallery for emerging artists in Vancouver (1983) and have curated various programs in film/video festivals, exhibitions in galleries, and initiated projects to research and document the lives of women artists in Zimbabwe (1990-2). Currently I continue to explore the relationship of contemporary technologies to bodily epistemologies – this research began in 1996 when I wondered "why do we want to become an information culture?" I am interested in re-learning improvisation and spontaneity so as to break out of constrictive perceptual boxes that are particularly emphasized in our Western technocratic culture. I am also interested in the perceptual shifts within this culture in how it erases other cultures older than ours.
Two key things in my childhood were formative in shaping who I am today: The first is I was born in Harare, Zimbabwe of Chinese parents. Zimbabwe at that time was called Rhodesia and was governed by an apartheid system of rebel colonials who did not want to give the British colony back to the indigenous people. To be a Chinese girl growing up in this milieu, I learnt things are never simply black and white. As an outsider I was highly visible while at the same time highly invisible and I learnt there are subtleties around us everywhere in every moment that may be imperceptible and incomprehensible but we can work to make creative sense of it. Chinese people at that time could only have certain roles or occupations in this type of society -- storekeepers, labourers, teachers in 'coloured' areas etc. My positioning and its constructions created curious relationships for me between the odd social public 'norms' of Rhodesian society and my private home life. I continue to decipher many of these relations today in how they invariably inform and shape my work and in how they exist in a variety of forms even in North America.
The second thing contributing to my shaping is that at that time there were no pre-schools for me to attend. So between the ages of three and five I would accompany a family member on their daily chores or to their work. I remember often accompanying my father in his car while he drove from factory to factory picking up goods for his store. He wasn't a very good businessman as it wasn't his calling in life, so these drives were a wonderful escape for both of us. In these moments he would tell me stories from Chinese History and about Chinese Philosophy and I was happy to sit next to him and listen. When I wasn't with my father, I was with either one of two half-sisters. One was an English teacher at a school for indigenous Zimbabweans who often visited with writer friends, poets and others who were interested in politics and I would play or sit with them while they had discussions. My other sister was an Art teacher in a high school for 'coloured' children and she would take me to her classes and place me in a room with art supplies where I would spend my time drawing or painting while she taught.
Today, as an interdisciplinary artist and writer, I realize how my childhood has nurtured in me passions for philosophy, art and writing as well as for discussion, listening, observation and reverie. This is where I learnt about opening time and space to enable to see how things are never as we were told or first perceived and to learn how to allow things to reveal themselves.
Visit my website, http://laiwanette.net.
MFA in Interdisciplinary Studies, School For Contemporary Arts, Simon Fraser University; Diploma in Interdisciplinary Studies, ECIAD, Vancouver.
Don Mayer (BA RUP ’75) is the founder and CEO of Small Dog Electronics, a socially responsible company specializing in Apple products, based in Waitsfield, VT. Don was the keynote speaker at the Fall 2012 Vermont Businesses for Social Responsibility Conference and will be opening a new retail store in Rutland, VT in April.
Based in Waitsfield, VT, Small Dog Electronics is New England’s largest Apple Specialist and one of the top Apple resellers in the United States. Small Dog is a socially responsible company focused on constantly improving their impact on the environment, their community, their customers and employees in addition to maintaining their profitability.
Nearly 30 years ago, Mayer moved to Vermont to study alternative energy sources at Goddard College where he studied wind energy. When asked how Goddard influenced his life and career Don said,
“The Goddard experience was truly life-changing for me. Goddard gave me space to explore and a professor who took an interest in me as a person and gave me the tools I needed to learn, excel and succeed. My Goddard experience was a watershed moment in my life.”
Don started North Wind Power Co. (now Northern Power Systems) shortly after he graduated in 1974. In 1988 he sold Northern Power Systems and started Maya Computer Co., which sold Macs in the Mad River Valley. In 1995 he founded Small Dog Electronics and began hiring employees.
Small Dog’s mission is to “create amazing products to improve people’s lives.” The website says: “We are a socially responsible company, which means we have a multiple bottom line. The effect we have on our environment, community, customers, and employees is just as important as maintaining our profitability.”
Small Dog recently installed a large solar photovoltaic array that powers 100% of the electricity of the South Burlington store and a significant percentage of the Waitsfield location. They have also installed a FreeAire cooling system that uses outside air to cool their server.
Small Dog also holds several free eWaste Collection days every year. During the first one, held on Earth Day in 2006, they collected 50 tons of eWaste. Now Apple completely funds Small Dog’s four annual eWaste collection events. In 2010, Small Dog lobbied for and was a major reason that the most comprehensive eWaste law in the nation passed in Vermont.
Small Dog will be opening a new retail store in Rutland, VT this spring. “We believe that we can play a major role in the revitalization of downtown Rutland with renewable energy technologies while promoting energy conservation. We’re excited to bring our business to this dynamic city, which we believe is teeming with untapped potential,” Don Mayer said.
Residency Sites: Plainfield, VT
In addition to my new role as BA in Individualized Studies Program Director at Goddard College, I am an adjunct professor in Curriculum and Instruction and Technology and Education in the School of Education of Lesley University. I served as core assistant professor for nine years, teaching courses in teacher action research, learning and teaching, equity, leadership, and emerging technologies for education. Most recently I served as the Program Director of Elementary Education at Keiser University in Sarasota, Florida.
I have taught at the college level in the traditional format, intensive weekend, hybrid and online environments. I have many years of experience as a diversity/educational generalist trainer/consultant. As a graduate student at UMASS, and while a full-time faculty member at Lesley University I coordinated several research projects and evaluation efforts including one for the University of Vermont.
I am a graduate of the University of Rhode Island (BA), the Heller School at Brandeis University (Masters of Management in Human Services - M.M.H.S.) and the University of Massachusetts Amherst (Ed.D). I was a co-investigator of a major Carnegie Corporation grant to improve interethnic relations among youth, and the Director of the USENIX technology grant to mentor youth in three Boston area Computer Clubhouses. Prior to relocating to Sarasota, Florida I served as the education coordinator and Study Skills teacher of the Alternative Education Program (AEP) Summer School for at-risk 8th graders in Woonsocket, Rhode Island for three years. A chapter on my experience will published in an upcoming book on inclusive education in August 2011.
My areas of interest include the use of technology in education, racial and cultural identity formation (youth and adult) and educational strategies to improve the academic and social achievement of “at-potential” youth. I developed a curriculum on Cultural Identity Groups for use in anti-racism programs in schools. I am passionate about faculty professional development and enjoy working with educators at all levels of the profession. I am a multicultural curriculum specialist and a consultant for Sarasota County Government’s management leadership academy in Sarasota, Florida where I reside.
My passions are gardening, reading, walking, contemporary jazz, learning to paint on silk and enjoying family and friends.
EdD, University of Massachusetts Amherst; MMHS, Heller School at Brandeis University; BA, University of Rhode Island.
Residency Sites: Port Townsend, WA
I grew up in a post-war housing development in Skokie, Illinois, a suburb of Chicago. My parents were card-carrying agnostics living in a neighborhood of Traditional Jews (the synagogue was at the end of our street) and Catholics (their church was across from my school.) I spent many a Saturday morning sitting in our window watching those going to temple walking past our house in their best clothes on their ways to Skokie Valley Traditional, and many a Sunday morning watching those going to church pile into station wagons for the short trip to St. Joan of Arc. On steaming hot days in the summer, I didn’t envy them. All the rest of the time, I did.
From childhood on, I actively searched for a religion to which I felt I belonged. I tried the Big Three; I chanted with Buddhists; I visited the B’ahai, who’d built by far the coolest temple up north on the lake. Meanwhile, my mother constantly took us out of school for matinees downtown: I saw Eve Arden rave in The Effect of Gamma Rays on Man-in-the-Moon Marigolds, Sandy Dennis run her fingers through raw hamburger in And Miss Reardon Drinks A Little, As You Like It, with a whole bunch of old people in it, The Organic Theatre’s famous mostly-nude adaptation of Animal Farm, with a whole bunch of young people in it, Oliver! and a million high-school productions of Oklahoma! When I graduated from Goddard College in the late ‘70s, I thought I had found my true religion: poetry. This was because I got into the Iowa Writer’s Workshop in Poetry, and I thought it was a sign.
A week into grad school, I realized that sitting around all day writing poetry was not enough for me. Also, I could not quote Yeats. I had wasted my youth on horses, odd jobs and road trips, and couldn’t quote one great writer, let alone a poet. I was an embarrassment to myself. I avoided facing this by enrolling in a course called Basic Playwriting taught by a grad student named Lee Blessing. When the head of the Playwriting Department suddenly quit his job, he was replaced in a matter of hours by an insane Scottish playwright named Tom McGrath, whose exquisite play, The Hard Man, was a huge influence on me, and subsequently by Phil Bosakowski, who taught us that plays were agile things which could be written in a matter of minutes, put on by oneself, and moved on from, like stepping stones, to new places. To me, it seemed like writing a play was just a matter of pumping up a poem. Thus began my journey towards Theatre, my passion, the temple, the church where I belong.
The sheer joy of writing sustains me through good times and bad, allows me to discover things I didn’t know, to work out problems I’m too immature to handle yet, to feel love and gratitude in an often unlovable, ungracious world. I like lending this out in teaching. A practical person, I like teaching people how to sell what they write. I crave the freedom of working on a novel in obscurity, and I enjoy the restrictions inherent in writing a villanelle, or a play, or a screenplay. I love inventing people and deeds, and I love working my own life into a character’s, so that I can deny that I ever personally thought or did such things. I teach from the experience of almost thirty years of daily fighting and flying with my talent and my shortcomings and the infinite possibilities inherent on a blank page. I like engaging in dialogue over new work. I ask students to read constantly in order to find out how other writers handle certain things. I encourage a habit of writing to form. I know the psychology of being a writer as well as structure and form, and enjoy sharing this as well. I like helping writers get over the fear of revision, find inspiration, and see all the fantastic possibilities in their ideas. I love narrative and I love busting narrative. I love the stage picture and all the elements of performance that one can bring into an evocative piece of theatre. If I have a static philosophy, it’s something like, as Roethke put it, “…I learn by going where I have to go…”
My most recent play is What’s Buggin’ Greg, winner of the Macy’s New Play Prize, which will be produced by Cincinnati Playhouse and tour during the 2012 season. Other recent work includes a film, Ninja Mom: Mother’s Day, Makeover! a theatrical musical based on the life of Estee Lauder, and new plays, Our Suburb and The Posthumous Democrat. I am also working on a novel called Mass For Shut-Ins. My stage adaptation of Disney’s classic, Snow White, just finished playing at Disneyland for the past 5 years. I’ve written extensively for television, including movies of the week for CBS, NBC and Hallmark. My adaptations of Willa Cather’s O Pioneers! and The Boxcar Children, with composer Kim D. Sherman, have toured all over the United States. O Pioneers! was filmed for American Playhouse with Mary McDonnell in the lead. My play The Stick Wife continues to be produced all over the U.S. and Europe. Hearts Are Wild, an original rock musical with composer George Griggs opened in Pittsburgh at City Theater in 2006 and Sabina, a chamber musical about Jung, Freud and Sabina Spielrein, with book by Willy Holtzman and music by Louise Beach, is in the works, as is Club California, a musical about prostitutes in Kosovo, with composer Craig Safan. Heartland, an original musical, also with Kim D. Sherman, has been produced in regional theaters since 2000. I’ve won numerous awards, including an NAMT Development grant at Human Race Theatre, a Rockefeller grant, an NEA and a Gilman and Gonzalez-Falla Award. I am a member of The New Dramatists and The Lark Theatre in New York City.
MFA in Poetry, University of Iowa Writer's Workshop; MFA in Playwriting, University of Iowa; BA in Liberal Arts, Goddard College
Rahna Reiko Rizzuto
Residency Sites: Plainfield, VT
My first novel, Why She Left Us, was published in 1999 by HarperCollins and won an American Book Award. The book was inspired by my discovery (at the age of 30) that my Japanese-American mother and her family had been interned during World War II in the American internment camps. My journey to, and through, that novel was the beginning of my own exploration of war, and historical blindness, and our highly individual quests for peace – all of which now lie very much at the center of my writing and my life.
After my novel came out, I was awarded a U.S. Japan Creative Artist Fellowship from the National Endowment for the Arts and went to live in Hiroshima, Japan to seek out survivors of the atomic bombings for my next novel. I was living in Japan and was in the midst of conducting this research on September 11, 2001 when my own family was in New York trying to deal with the terrorist attacks. My second book, Hiroshima in the Morning, is a memoir about how those two “wars” collided from my perspective as a writer, an expatriate and a mother. Hiroshima in the Morning is a National Book Critics Circle Award Finalist and the winner of the Grub Street National Book Award.
Recently, I have completed the novel I went to Japan to write and also have begun a young adult trilogy – both books are forthcoming. I am also the Associate Editor of The NuyorAsian Anthology: Asian American Writings About New York City, published by Temple University Press in 1999. (This anthology was a PEN American Center Open Book Honoree.) My essays and short stories have appeared in anthologies, journals and newspapers including the Los Angeles Times, Salon Magazine, Mothers Who Think, Because I Said So, Topography of War, Mamapedia.com, and the Huffington Post. I have written four young adult novels under a pseudonym, and I am a member of the Asian American Writers Workshop in New York.
As for my writing, I came to prose from science (I majored in astrophysics in college). As a teacher, my initial focus is to help each student strip away analysis (and self consciousness) and find the unique urgency and heart in her or his work, and then to use the appropriate tools and craft to tease out the surprises and idiosyncrasies that belong to each alone. I am interested in structure, and in memory, and in the use of historical research in fiction and creative non-fiction. I look forward to working with any student at any stage in their writing career, as long as they are serious about their process and their growth. My website is www.r3reiko.com.
BA in Astrophysics, Columbia University.
Carey Turnbull was Chairman of energy brokerage firm Amerex Energy, which he co-founded in 1983, and whose North American operations were sold in 2006 to become the energy brokerage division of NYSE listed GFI Group (NYSE:GFIG). He is presently co-founder and Chairman of North American Power, a retail energy marketer.
North American Power was recently recognized by Forbes Magazine as one of America's top 100 most promising companies.
Carey graduated from the Goddard College resident undergraduate program (BA RUP) in 1973, where he met his wife who, after an extended break, returned and graduated from Goddard’s low-residency program in 2006, and went on to earn an MA from Goddard in 2008.
Carey has been happily married for 32 years and has two children, a 31-year-old son and a 29-year-old daughter. He divides his time between New York and Bar Harbor, Maine.
The IMA program allowed me to combine and explore my interests in environmental and progressive education with my love of and foundation in art. Although I had a very clear vision of what I wanted to accomplish and stuck to it my idea gained a great deal of depth due to the rigor of the program and advice received from my advisors.
My work at Goddard has allowed me to enter the fields of progressive and environmental education with the confidence that what I have to say is innovative, important, and meaningful and to present a product that will actually help change the way environmental education is taught and the way children interact and connect with nature. While at Goddard I wrote and published a book, Wings, Worms and Wonder: A Guide for Creatively Integrating Gardening an Outdoor Learning into Children’s Lives. By embracing the fact that my learning reached such depth in the field, I gained the confidence to apply to present the work at multiple international conferences over the next year (and I was accepted to present at all of them!) and create a business that allows me the creative freedom to do what I love - create holistic outdoor learning experiences with students, teachers, and parents.
A 2012 graduate of the MA in Individualized Studies (IMA) program at Goddard College and a graduate of the Savannah College of Art and Design, Kelly has participated in the development and facilitation of multiple successful school and community gardens. She teaches at Montessori Tides School and in the University of Richmond's Nature and Sustainability Institute.
She is actively involved in her local garden club, her community children's garden, Slow Food First Coast's garden grant committee, The North American Association for Environmental Education, the Association for Experiential Education, and the American Montessori Society.
Kelly is an artist, surfer, musician, gardener, and seasoned Montessori teacher in Neptune Beach, Florida, where she can often be found riding her beach cruiser with her sidekick, Sean.
Visit her website for more information: www.wingswormsandwonder.com
MA in Individualized Studies, Goddard College, 2012; Bachelor of Fine Arts, Savannah College of Art and Design, 1998.
Avram Patt, has been General Manager of Washington Electric Cooperative of East Montpelier, Vermont since 1997. He also served on WEC's Board of Directors for eight years prior to thta. In addition to managing WEC's distribution system serving over 10,000 meters, he is responsible for the company's power supply, including its conversion to renewable energy, as well as its long-standing focus on residential energy efficiency programs.
Prior to becoming General Manager, Patt held a number of positions in public administration, most recently Director of Vermont's Office of Economic Opportunity, which administers a variety of anti-poverty programs delivered by non-profit agencies throughout the state, including the state's weatherization program. In the early 1980s, he was executive director of the Central Vermont Transportation Association, where he helped develop the area's rural public transportation system.
He has also been president of the Northeast Association of Electric Cooperatives (four states), a member of the Regional Power Supply Committee, Northeast Public Power Association, chair of the Region I Resolutions Committee (12 states), National Rural Electric Cooperative Association, and member of NRECA's national Resolutions Committee. He was also chair of the "E-21" Legislative Committee, coordination and information-sharing group of government affairs representatives of all Vermont utilities.
Patt is a 1972 graduate of Goddard College, as well as the singer and drummer for the Vermont Yiddish dance band, the Nisht Geferlach Klezmer Band.
Residency Sites: Plainfield, VT , Residency Sites: Port Townsend, WA
Teaching writing at the MFA level for me is an empathic act that amounts to entering my students’ imaginations as companion and mentor on their writing journey. My task is to see the project through their eyes and then enhance their efforts with my own skills and perspective, which serve as a container within which to bring the project to fruition. “Rules” of good fiction and dramatic exposition must be acknowledged but also, once the craft is mastered, questioned. Genres can be opened up, reshuffled, combined into meta-genres. Working in familiar forms and creating new ones both require literary sophistication. I encourage my students to read in a wide international and historical arena to broaden their perspective from the last few decades of American realism, appreciate the aesthetics of other forms and possibilities, and sharpen their critical faculties.
My writing career includes works in a number of literary genres and subjects. They represent, in effect, a series of developmental memoirs. Even as I wrote works of fiction, literary criticism, film scripts, a writer's book (On Writer’s Block), and a memoir (My Time in Hawaii), all belonged to only one genre informed by the same narrative structure--the bildungsroman of a person or cohort group (writers and artists; writers of grotesque literature; a generation of young Americans who came to the Pacific, etc.). My teaching experience ranges from university to workshop to one-on-one in a variety of settings: the universities of Hawaii, California, and Minnesota; the California College of the Arts; proposal writing in the historic first all-Maori small business seminars ever held in New Zealand; the Honolulu Model Cities program, and other venues. The imaginative and the analytical have been mutually reinforcing realms in my development as a writer. Writing The Secret Life of Puppets, a critical study of the supernatural grotesque, became a means of constructing a genealogy for myself as an imaginative writer and locating my own literary sensibility within a philosophical tradition. Many of the diverse subjects of that book were drawn from previous fictions I had written. My latest efforts in fiction indirectly echo and extend these concerns. My first collection of stories, Wild California, was published in the United Kingdom. A second story collection, A Bestiary of My Heart, will appear in fall 2011 from Inkerman Press, also in the UK.
Gothicka, my critical study of the Gothic genre in twenty-first-century fiction and film, will be published by Harvard in 2012. It is a companion volume to The Secret Life of Puppets and traces strands of alternate spirituality in the fictional realm of vampires, space aliens, and other supernatural entities.
I have written seven screenplays, with one optioned (and have adapted my script of Balzac’s mystic novel, Seraphita, as a theater piece with staging designed in collaboration with Mabou Mines puppetmaster Jane Catherine Shaw). I have found writing screenplays an exciting complement to writing prose fiction because both, for me, are intensely visual and landscape-oriented mediums. Writing for film has the advantage of a larger visual canvas of action and spectacle; writing novels and stories allows for more subtle psychological and interior effects. As a screenwriter I am drawn particularly to science fiction and the supernatural precisely because these genres allow a skillful writer to exteriorize the psychological life of a character so that "dealing with one's inner demons" takes the literal form of not-so-alien monsters the character must openly meet and engage. As a prose fiction writer, I have found myself (until recently) sticking closer to what we call “reality.” As a writer of memoir and criticism, I endeavor to bring as many of the techniques of imaginative writing to bear on my work as I can. As a teacher, I try to communicate the common principles that inform all these forms.
MA in English, University of Toronto, BA in English, University of California, Berkeley.
Before she came to Goddard Nancy Morgan worked in arts administration: she managed an arts council, an artists in schools program, and an art gallery, and was program director at the Smithsonian Children's Theater. She now facilitates writing and manages the Arts in Healthcare program at the Lombardi Medical and Research Center in Washington DC.
Nancy: After writing my way through personal crises, leading workshops and witnessing the empowerment people experienced after a day of expressive writing, and after enduring professional careers at odds with my own passions, it was time for Goddard. There I found people who had also experienced the power of words and could guide me along a path of individualized learning, self discipline and discovery that led to my current work. I loved the different perspectives and areas of expertise of my semester advisers - writers, psychologists, environmentalists, all enriching and supporting my investigation of writing and health. I so appreciate the emphasis on a totally individual approach to meeting learning objectives. The ability to choose the resources, practicum and thesis focus, with guidance but not coercion, freed me to really focus my energy on what I wanted to learn and achieve. This approach motivates one to continue learning after the degree is earned.
My thesis entitled Cancer Stories began with a synopsis of crises related to cancer in my own family, crises I interpreted and resolved through writing. Part two was a review of literature related to the health benefits of writing. Part three was a series of short stories and poems. Goddard moved me to the center of creativity, gave me confidence in my ability to write and to teach others. Transformative Language Arts at Goddard was magical, inspiring, exhausting, life-affirming. It was the hardest work I've ever done, especially because the outcome mattered so much to me. Other degrees are tucked away somewhere. My Goddard diploma is on my mantel.
The job I now have at the Lombardi Cancer Center is a synthesis of my personal and professional life and very close to a perfect fit. I give workshops and meet individually with cancer patients, their family members, chaplains, nurses, medical school students, and congregations. I release people from the burden of critiquing so they can express themselves freely and beautifully. I've helped people at the end of life compose letters to their infant children. I also conduct research about the health benefits of writing, based on the work of James Pennebaker and others.
From Nancy's thesis, Cancer Stories: Evidence of the Transformative Power of Language:
I recognize the faces of the newly diagnosed
shell-shocked, clutching a spouse's hand
anguish a small blue flame
lighting the deepest layers of the soul
birthplace of the new self.
Maggie Shopen Thompson
Focusing on the memoir genre during my four semesters at Goddard, I worked with three faculty advisors. They were accessible, insightful, knowledgeable, encouraging and skilled at providing the specific literary tools and feedback I needed to move forward with my writing. At the residencies I was exposed to the fertile breadth of the entire faculty. The academic rigor was intense and engaging. For a week each semester, it was total immersion in the craft and life of writing. Interactions with other students, many who are now close friends, were also lively, as we supported each other in our growth to become better writers. Conversations in the cafeteria were often as instructive as those in the workshops. At Goddard I have never worked so hard or enjoyed school so much. The program was exactly right for me - transformative on many levels. I gained confidence in myself and joy in my skills as a writer, not just in an academic way, but with validation to the authentic core of my being. I graduated at age 58 with a fresh horizon. Contemplating a low residency MFA as an adult is a multi-layered decision. I welcome inquiries and conversations with prospective students!
Academic Publisher, Compliance Publisher, Staff
Jill Mattuck Tarule
I am a Professor the Leadership and Developmental Sciences department at the University of Vermont (UVM).
I grew up at Goddard (parents Robert and Corinne arrived during a snow storm in 1938 and stayed as faculty for the next 50 years). I also graduated from Goddard, taught at Goddard, was a dean at Goddard, and am married to a retired Goddard faculty member. Goddard and progressive ideals and education have been a guiding compass in my life and work. Not always at Goddard physically, I have been a faculty member, associate provost, dean and other leadership roles at Lesley College (now University) and at UVM. I have a masters and doctoral degree from the Harvard Graduate School of Education and an honorary doctorate from the University of New Hampshire School for Lifelong Learning. My publications include co-authoring Women’s Ways of Knowing: the Development of Self, Voice and Mind, co-editor of Knowledge, Difference and Power: Essays Inspired by Women’s Ways of Knowing and The Minority Voice in Educational Reform, An Analysis by Minority and Women College of Education Deans, as well as articles and chapters on adult learners, women as leaders and leaders’ moral decision-making. Among the awards I’ve received, three capture what have been abiding concerns and commitments: the Pomeroy Award for Outstanding Contributions to Teacher Education and the Gender Equity Architect Award from the American Association of College of Teacher Education and the Jackie M. Gribbons Leadership Award from the Vermont Women in Higher Education.
Residency Sites: Plainfield, VT
I am intrigued how we meet each other with full presence, especially in those moments when we forget where our ‘center’ is. I am curious how we 'flow' energy in our bodies and in our lives. I am interested in epistemology, how we come to know what we know and how we talk and listen with each other about what we know…and the fluid experience of ‘knowing’. I like to think that the moment we think we 'know' something, another, 'knowing' is ready to emerge. Look what happened to Pluto.
I think our potential and “ruach” lie in the ‘places in-between’ in us, in that “liminal” space. I mean the place where boundaries dissolve or blur and we stand on the edge of our becoming, preparing ourselves to move across perceived limits of what we were, into what we can be. The art practices of writing, improvisational music, dance/movement and theatre, yoga, aikido, teaching and other forms of contemplative art-making allow the opportunity to play in this place of “becoming”, inviting us to notice what ‘shows up’.
My classical psychological, philosophical, dance, music and movement training finds comfort in categorization, yet my experience has been that we each are a divine mystery containing infinitely unfolding identities. Training in psychodrama, expressive therapies, Gestalt methods, Feldenkrais Awareness Through Movement, Alexander Technique, Process Oriented Psychology, Body Mind Centering, Contact Improvisation, Rubenfeld Synergy Method, Amrit and Kripalu Yoga, Playback Theatre, sound healing and other somatic and contemplative approaches to education, psychology and the creative process provides an opening to play in the mystery.
I suppose that I’m a social artist. I’m interested in art making, faith, politics, spiritual practice and blurring the boundaries between the secular and the sacred in public life. I think the starting place is self-expression. Cultural critic bell hooks calls for an ‘aesthetic revolution’. I interpret this as movement from art making as self-expression to revelation, inviting us to act on what is revealed through our creating...potentially leading to change. The creative process invites that moment where we pause after a creative moment, re-awaken our vision, notice what is revealed and consciously navigate that liminal space manifesting new possibility. Maybe this is the r-evolution.
I think we as teachers, healers and artists shape our lives through the process of creation. The form has infinite variations whether it is an intentionally designed yoga retreat, therapeutic riding center, organizing a health-care outreach program for migrant farm-workers, adolescent male rites of passage programming, scholarship on inclusive yoga practice and pedagogy, creating a documentary on women’s relationship of body, running practice and food, etc.
Lately I've been struck by the statement "We are the ones we've been waiting for." I first heard it sung years ago at a workshop led by Ysaye Barnwell of Sweet Honey in the Rock. This quote’s origin as I understand it comes from the Elders Oraibi Arizona Hopi Nation prayer. I think we shape and transform our lives by our full presence in the creative process, which in turn inspires our leadership.
As a practitioner of many expressive arts approaches, art practices and somatic approaches, I think our medium, ultimately, is humanity and consciousness. How we choose to use our energy, the stories we inhabit, the ones we tell about ourselves and the ones we compose and co-create inform our individual and collective story, life experience and our reality.
My work as an educator, psychologist and interdisciplinary artist has taken me into elementary and secondary schools, universities, black box theatres, fringe festivals, museums, community mental health centers and agencies, psychiatric hospitals, women's centers and shelters, substance abuse treatment centers, prisons, a broad range of youth organizations and service-learning programs, numerous performance spaces, churches, synagogues, places committed to interfaith dialogue and multi-racial coalition building, Black-Jewish dialogue groups and corporate settings interested in systems theory, teaching/learning organizations and quantum leadership.
I am curious how we transgress socially constructed boundaries and step into that space where cultural knowledge, identity, personal theology, politics, epistemology and love meet.
I've been blessed to teach and perform in southeast, northeast and midwestern regions of the United States, London, Vieques, Puerto Rico, Belize, Toronto, and Cuba, using Playback Theatre, an improvisational story-telling method, socieometry and Process Work (Process Oriented Psychology) as emancipatory practices for dialogue, deepening connections, healing and creating new models for leadership and social change. Serving as faculty for graduate programs in Educational Leadership, Curriculum and Instruction, the Integrative Arts at Lesley University, Multicultural Theatre and Democratic Curriculum at Union Institute and University and most recently teaching courses in 'Organizational Leadership', ‘Ethics’ and “Psychology” has provided me with the opportunity to support diverse learners with attention to interdisciplinarity.
My work as an advisor is to support learners in calling forth their own wisdom, experiencing themselves as reflective practitioners, researchers, scholars, artists and agents of change and bringing their work into the world in meaningful and sustainable ways that inspire joy and connection. And the piece about ‘energy and flow?' That happens mostly when I’m playing with our family band, “Queen Fanifah," my beloved Wylie, aka “Leaf Zebra” and our 4-year-old bundle of joy daughter Hannah, aka “Electric Dread."
PhD in Educational and Social Psychology, Union Institute and University; MEd in Counseling Psychology, Temple University; MFA in Interdisciplinary Arts, Goddard College; BA in Philosophy, SUNY Binghamton.
When she came to Goddard, Hillary Webb had already written and published books on altered states of consciousness, but she wanted more academic experience and grounding. Her work in the low-residency MA in Individualized Studies Consciousness Studies Concentration, explored the question of what it takes for individuals and societies to make large shifts in consciousness from both intellectual and personal-experiential points of view.
A month after graduating, she began PhD work in the psychology program at Saybrook Graduate School. She is now Managing Editor of Anthropology of Consciousness journal and the former Research Director at The Monroe Institute. Webb is also now a current Trustee on the Board at Goddard College.
Hillary speaks about her Goddard education:
Hillary: I had been looking into graduate programs, mostly those in the religion or philosophy departments of various "traditional" universities. While most of them offered the academic rigor I craved, they did so at the expense of personal experience as a way of knowing. These programs were all head and no heart and I wanted both.
At my first residency, I found myself surrounded by faculty and students who, because of the almost limitless possibilities for innovation within one's work at Goddard, were exploring the field in ways that I never could have imagined. Having the opportunity to interact with and learn from others in the field of Consciousness Studies was definitely the high point of my experience at the college: I found myself engaged in conversations on subjects that were as diverse as they were fascinating, from cross-cultural perspectives on death and dying to socially engaged Buddhism; from postmodern philosophy and its relationship to the occult sciences to the history and practices of ethnomusicology.
Professionally speaking, Goddard prepared me very well to step into the field of Consciousness Studies in its wider context. On a personal level, my four semesters at Goddard taught me more about myself than I ever could have imagined, and this has, in turn, accentuated my professional work greatly.
From Hillary's thesis, Paradox and the Reconciliation of Opposites:
In general, belief systems can be distinguished by their relationship to the opposites. Some favor separation, relying, at least in part, on a strict dualism that emphasizes the antagonism of the polarities, with one side being responsible solely for all that is "Good" and the other side bearing ultimate blame for all that is "Evil" and must be destroyed. Anything that seems logically contradictory is considered to be, at best, a symptom of misinformation, or, at worst, an intellectual or spiritual perversion. German author Thomas Mann referred to paradox as "the poisonous flower of quietism, the iridescent surface of the rotting mind, the greatest depravity of all". Here in the West, it is often with this lens that we view the opposites of existence. Contradictions thus become treated as crises, something to be resolved so that the paradox no longer exists and we can go back to being comfortable in our one-sidedness. The core drama of heavily dualistic systems thus becomes the continuing confrontation between opposing principles that are seen as eternally at war with one another, with humankind acting as animae bona et mala sita-souls placed between Good and Evil, spirit and flesh. Under these systems of thought, each individual is expected to distinguish between what is "Good" and what is "Evil," and work to destroy the latter, with the price of wrong choice being eternal damnation.
The pressure! No wonder paradox causes us such angst, for, with our very souls at stake, the wrong decision has eternal consequences for us. Because of this ontological assumption we may find ourselves (consciously or unconsciously) performing all kinds of mental gymnastics trying to determine what choices will put us in the "right." And once we have made that determination, woe betide the individual who threatens to disrupt our conception of "Truth"!
But while some traditions consider paradox to be a spiritual and intellectual "perversion" that must be transcended, other cultures and belief systems seem to have taken a much different attitude towards the relationship of opposites, viewing paradox not as evidence of the frailty of human reason, but-quite the contrary-as evidence of certain ineffable truths about the universe. Some even see it as a gateway to experiencing Ultimate Truth. Now, this is not to say that any system is completely non-dual. Even so-called "non-dual" traditions make necessarily dualistic distinctions such as "inner versus outer" and "truth versus illusion" in order to articulate and give form to their cosmologies and practices. However, where they differ from their dualist counterparts is that instead of seeking to make one side of the equation absolute by attempting to eliminate the other side, these traditions have in common the belief that opposites are not antagonistic, but complementary and, even more importantly, dependent upon one another for their existence. Therefore, the overriding argument is that one cannot and should not be eliminated since each has meaning only in relation to the other; that the destruction of one side would lead to the inevitable destruction of the other. In addition, in many of these cases the paradox that polarity creates is seen as revealing their ultimate unification at higher levels of consciousness. Instead of acting as a hindrance to this ultimate reconciliation into Oneness, paradox can therefore be used as a tool by which one can achieve spiritual enlightenment.
Before Goddard, Michael Deragon had been a technical writer and an English teacher in a small town alternative secondary school. He came to the low residency MA in Individualized Studies Program to study surrealism and writing. His thesis was a poetic exploration of teaching, desire, seeing, surrealism and simultaneity. Since graduating he has taught surrealism, poetry and film noir at a New England art school, and he is now studying experimental sound and writing at the California Institute of Art. He has also been publishing poems, and his CD, the great invisibles' you left me haunted - many of whose lyrics were written while he was at Goddard - has been released on broken sparrow records.
Michael: before attending the individualized masters program at goddard i had always written both music and poetry, yet the poetry never seemed to keep up with music or my own imagination. i hadn't discovered a confident writing voice.
while attending goddard i studied with three amazingly powerful and unique women who altered my writing, my music, my focus and, most importantly, my perspective.
i began working with ellie epp. her suggestions for readings (the descent of alette and time, space and knowledge, most importantly) and vigilant responses to my faltering writings created in me a sense of confidence. her ear became a reason for me to write more. to take leaps. to fail. to recreate. to edit. my writing leapt ahead of me.
next i worked with lise weil, who stretched my boundaries in different ways. lise's extensive knowledge as an editor and her love of helene cixous, carole maso and nicole brossard rocked my surrealist boat and i found new writing mentors. lise's keen editing eye rounded my edges enough so that my writing's focus was now my force of evocation.
last, my thesis advisor, caryn miriam goldberg, a wonderful poet, was implicit in the creation of my book length manuscript (some of which now appears in small journals). caryn cares about every word and every nuance of language. she makes you care about your word choices, your perspectives and how language plays in the minds of an audience.
together these women have been indispensable to my understanding of the artistic process.
From Michael's thesis, what i was wanting:
I begin writing automatically;
a process complicated with mistakes, strange turns, and uncomfortable silences.
Now, I have the attention of my world, what is being said? Is there anything that has meaning? It seems everything has too much meaning. Nothing that last forever. These things, these objects, these thoughts, contradict.
I contradict myself, expand into something different. Explanation is rendered meaningless.
How resplendent things have become when i let these thoughts, these languages, these bodies back onto their natural course. Simply being.
Like the ocean striving for nothing but giving life to so much. Embodiment.
Automatic poetry, according to Dadaist Jean Arp, comes straight from out of the poet's bowels or out of any other of his organs that has accumulated reserves. A funnel puts feet into dreaming flesh, stuck into the weight of language as language grows. Sending waves. The automatic sea.
There are no civilizations, nor phantoms, without poems. Automatic writing is wide-open and sticky. Nothing gets in here, or is seen, that isn't wanted.
With my eyes wide open, and the pen moving as fast as I can enable it, there are things here. Odd things. Perfect things? Objects from somewhere foreign. Something suggested. Something flawed. Art exists in the prying open of these heavy ante-chambers of suggestion.
Thought itself is writing. Waves. Language.
The weight of language.
The weight of love.
A pen like fresh warm guts.
My gut crackles within language.
A first time kisser. Each word is a flame eating the air. My words are a gut reaction. This is the language I love. I begin here. Stepping into liquid.
Everything at once like making love, like dreams/nightmares, like the unequivocal hunger of desire, like surfing, like cubism, like dada, like surrealism and dreams.
The erotic fury, says Mexican poet Octavio Paz, in the face of the enigma of presence and an attempt to descend to the origin, into the pit where bones and seeds commingle. I belong to language like violent waves belong to a hurricane. It's visual; it's surreal at times. It is hard and absolute like a ditch carved in granite. A worker's tired hands shake the bride of the marvelous.
"Here are my words."
"Eat them with me."
They come like words. Attend to them.
This language evokes the secrets of the unconscious.
Dreaming in the most ordinary places within days and within nights. Beyond
where we stand.Odd objects stand up and do the things they are not supposed to do. Helicopter skies and a sleep light on the wings of a breakfast plate as the woman becomes the warm part of the house.
"You have fallen in love before?"
"You've seen this too?"
The poetic finger, the poetic nail, the poetic nags at the comfortable. We live as we are. Words move the immovable. Let's break away from our rationality, says Futurist F.T. Martinetti, as out of a horrible husk and throw ourselves like pride-spiced fruit into the immense distorted mouth of the wind!
I begin to write. I begin to live.
I might be a surrealist. I can't determine. I don't want to. I spit up mad words, a bold life, the other, seeing, not seeing, things happening all at once, quickly. Meaningful. Meaning nothing. Felt on the skin automatically. I contradict.
I'm inspired by ferocious states received in dreams, in love, in secret beings.
I want the uncensored and unrelenting feeling of being alive.
I want to be of the mystery. I'm not a surrealist!
My propeller arms, oscillating between something seen and something unseen. At once. I found myself in a dream. The quality of so much.
I write through the clouds and into a house of tongues.I've climbed into the ocean. I've put in for a job out there.
I would be teaching the fish to fly. A career worthy of a lifetime.
The flexible nature of the MA in Individualized Studies program at Goddard allowed me to integrate my love of speculative fiction, cultural studies, and human nature and develop it into a viable, academic pursuit. My thesis consisted of a completed novel and an extensive context paper that argued speculative fiction as having a significant role as a critic of dominant western culture. The residencies at Goddard were always stimulating and were integral to the development of my study plan. The friends I met there and the seminars offered provided continual opportunities for me to refine my study goals and consider alternative views. Working so closely with faculty allowed the exchange of ideas to flow in a very organic and individualized manner. All the faculty I had the privilege of working with, though willing to impart their knowledge, always made me feel as though we were learning from each other as well. My experience at Goddard changed the way I see and know the world. It has also helped me to organize and articulate the knowledge and passion I have into a meaningful and effective finished product. I look forward to speaking with you soon!
Anna Bálint is the author of Horse Thief (Curbstone Press, 2004), a collection of short fiction.
Her earlier publications include a book of poetry, Out of the Box (Poetry Around Press, 1991); and spread them crimson sleeves like wings, poems and stories (Poetry Around Press, 1993).
She co-edited Poets Against the War, an anthology of poems protesting the Gulf War, 1991. Her stories and poems have appeared in numerous journals including, Calyx, Briar Cliff Review, Clackamas Literary Review, Raven Chronicles, Caprice and Stringtown.
In 2001, Bálint received the Starbucks Foundation “Leading Voices Award” for outstanding work with urban youth in the Puget Sound Region in the field of creative writing.
In October of 2012, she was the featured reader at Lit.Mustest, a reading series at the Richard Hugo House organized by Goddard College MFA in Creative Writing students.
She lives in Seattle, where she teaches creative writing in Antioch University’s First Nations program with the Muckelshoot tribe and at the School of Recovery in Seattle.
Residency Sites: Port Townsend, WA
James R. Gapinski (MFAW '13) is the new Editor in Chief of the Pitkin Review, the literary arts journal published biannually by Goddard's MFA in Creative Writing students.
Gapinski's writing has appeared in Burdock magazine, Oak Bend Review, Pudding Magazine, Line Zero, and elsewhere. He is Managing Editor of The Conium Review, and he teaches a story course at Mt. Hood Community College.
Liam began his legal career with the Washington office of the Houston, Texas firm of Butler, Binion, Rice Cook and Knapp. He relocated to Vermont in 1983 and joined the Burlington office of Langrock, Sperry & Wool, where he became a partner and where he remained until becoming a founding member of MSK in March 2004.
Liam maintains a broad practice grounded in all types of real estate matters, encompassing real estate transactions and litigation, land use and environmental law as well as condemnation litigation.
Liam's transactional practice focuses on representing building owners and developers to establish and manage their operating entities, to acquire, finance, permit, manage, lease and/or sell (including through "1031 exchanges") a wide variety of commercial, residential, hotel, recreational, office and shopping center properties, and to establish condominiums and common interest communities. Representative transactions include the following:
- Counsel to the City of Winooski in connection with its ongoing downtown redevelopment project. The Winooski project is the largest urban redevelopment project in the state's history, involving the acquisition of 125 acres from multiple owners through sales and condemnation, obtaining master plan approval to construct over 300,000 sq. ft. of retail/commercial space, a 250-room hotel, a 43,000 sq. ft. municipal center, 800 units of housing, and 3,100 parking spaces in multiple parking garages, and then working with private developers to implement the City's vision for a redeveloped downtown.
- Counsel to Vermont National Golf Course in connection with the development of a championship golf course with 250 units of housing.
- Co-counsel to the developer of Maple Tree Place in Williston, a mixed use development with up to 450,000 sq. ft. of retail/commercial/office space, including a cinema, a grocery store, and 50 units of residential housing.
- Counsel in two superfund cases and a number of brownfield cases, where he has represented parties named as "potentially responsible parties" under CERCLA, the Federal Superfund law.
- Counsel to numerous landowners, land trusts and conservation organizations in the transfer of development rights and the creation of conservation easements, including projects with the Vermont Land Trust, the Lake Champlain Land Trust, the Champlain Valley Greenbelt Alliance and the Town of Charlotte Land Trust.
- Counsel to First New Hampshire Bank in the foreclosure, management, and resale of the Burke Mountain Ski Area, among other foreclosure/workout matters undertaken during the downturn in the real estate market in the early 1990s.
- Counsel to Burlington Broadcasters, Inc. d/b/a WIZN, successfully defending a radio station in a decade-long challenge to the location of its tower and antennae brought by a local citizens group.
- Counsel to numerous neighborhood groups and organizations in ensuring that neighborhood and community concerns are considered in proposed developments.
- Counsel to numerous landowners along U.S. Route 7 in the condemnation action undertaken by the State of Vermont in connection with widening that road from two lanes to four.
- Counsel to numerous landowners in condemnation actions by VELCO for its electric transmission lines and facilities in the New Haven to Burlington corridor.
- Co-counsel to the Central Vermont Railroad in connection with the series of cases interpreting the public's rights to "filled lands" along the Burlington waterfront under the "Public Trust Doctrine".
From 1997 to 2000, Liam served as the Chair of the Real Property Committee of the Vermont Bar Association, and in 2001 was awarded the "Service Award" by the Vermont Bar Association. Since 1988, Liam has regularly taught a course on "Title to Real Estate in Vermont" for lawyers and paralegals, and has published a companion publication. He is a frequent lecturer on land use and development law and related regulatory issues, appearing regularly at events sponsored by the Vermont Bar Association, the Vermont League of Cities and Towns, and the Municipal Clerks and Treasurers Association.
Born near Wexford, Ireland in 1954, Liam moved with his family to Wales in 1960 and then to Brattleboro, Vermont in 1968. He currently lives in Charlotte with his wife and two sons.
My experience with Goddard was one of deep education and glory. I focused on fiction writing, and learned immensely from my mentors (even if it wasn’t what I expected to learn), and found the authentic sensibility of Goddard to suit me perfectly. I gained the lifelong friendships of a group of women writers (www.corvidwriters.org) and a chance to identify myself personally as a writer. I was utterly changed by my Goddard experience. I am a devoted and connected writer in the world. Because of Goddard, I teach both adults and children creative writing and am currently in pursuit of a college or university position doing the same. I have gone on to write a novel after my short story collection (written during my time at Goddard) and seek book publication, though my writing has been widely published in literary journals. Not only did I become a better writer with Goddard’s help, I became a better person, and one clear about her role in the vast universe.
Residency Sites: Plainfield, VT
As community educators, we stand in the crossroads of education and community. We build individual and collective capacity to deal with complex social issues of justice and equality, and hold the critical tenets of participatory process and democratic change. As collaborators, we understand the power of partnership in developing sustainable communities. These practices are deeply rooted in community education process, theory and philosophy. Within this process lies the potential for collective and individual reflection and articulation of what matters most, to individuals and to communities.
Ironically, many people leading this community work don’t recognize the essential nature of their role in the process, having been unheard and undervalued themselves as professionals. The Community Education concentration and progressive pedagogy, as practiced at Goddard, engages the student in a profound exploration of their relationship to their community, and the world, and unveils the wisdom contained within each individual.
I spent my childhood and teenage years in Latin America, and am bilingual and bicultural. Upon coming to the U.S. as a young adult, I recoiled from the consumer culture that had become the dominant social paradigm in this country, and was fortunate to find a new home, with a live and vibrant culture, in West Virginia, where I settled and raised my family. I worked with community arts organizing, positive youth development and family and community engagement in schools.
My educational and professional paths have been entwined with Goddard and with Community Education. I enrolled as a Goddard student after a decade of working in the field. In the first year of my undergraduate studies, I distilled prior learning experiences into discrete courses of study through Assessment of Prior Learning process. I then proceeded to earn BA and MA degrees in the Goddard Education and Licensure program, and worked with Goddard faculty to establish the Community Education concentration. As a graduate student, I focused on the role of institutions of higher education in Vermont and around New England in professionalizing the field of Community Education. Throughout my years as a Goddard student, the progressive pedagogy of theory, praxis and reflection were woven into the work I was doing in the field.
I have worked with schools, local governments and non-profit organizations to support communities in addressing issues of equitable access to health and wellbeing and to create networks of support in which young people thrive. In 2008, I became the Executive Director of a non-profit organization in Woodstock, Vermont, with a focus on public health and positive intergenerational relationships. The organization connects young people to community through empowering youth health advocates, and through mentoring and farm-to-school programs. In addition, we build community partnerships to develop local food sovereignty and equitable access to local food, both critical to community vitality and sustainability.
<p>MA in Education and Licensure, Goddard College; BA in Education and Licensure, Goddard College.</p>
Clo Pitkin is the daughter-in-law of Goddard's founding president. She married Royce "Tim" Pitkin's son, Belmont. Over the years she has had many roles at the College (student, staff, faculty, friend, and trustee). Student from 1949-1953 After graduation, Tim Pitkin hired her to help survey the upper Winooski valley as part of Title I Grant. The work involved surveying the upper Winooski valley to collect data about people's knowledge of social services. Clo, with the help of Ellen Pitkin, organized and helped run educational conferences at Goddard throughout the 1960s. Graduated from UVM in 1969 with her MEd in Counseling. Director/Advisor of Commuting Adult Program at Goddard College-1968-1969 *The Commuting Adult Program preexisted the ADP program at Goddard. Goddard College-Education faculty, for both RUP and ADP. CCV-1970-1978. Worked with Peter Smith, CCV’s first President, to help get CCV started. While there she helped set up the advising program and designed degree programs, working with low-income people to devise ways for them to continue their education. Goddard College, Associate Director of Admissions, early 1980s. Founder and Director of Woman Centered, 1987-1993. Woman Centered was a woman’s organization who gave workshops to 1,300 women every year. They counseled and supported women, helped them access resources, etc. They worked with Governmental Commission on women, rented a house that also held a Domestic Violence Program and Sexual Assault and Crisis Team. When Battered Women’s Services almost went bankrupt they also moved into the house. It became a place where all the women’s stuff was happening in Central Vermont. Director of Community Services, Central Vermont Community Action. (1993-2000?) Helped to create and implement PIP (People in Partnerships) , a program which sought to simplify and integrate the social services available to low-income people. The state began to take integrate some of the innovations that PIP had come up into the larger social services and governmental system. Goddard Renaissance Committee, 2002-2003. Co-founder of Vermont Peace Academy, 2002. Goddard College Board of Trustees, 2003-Present. *Clo also had a private therapy practice, usually with about three clients, for much of this time.
Bachelor of Arts, Goddard College; MEd in Counseling, University of Vermont.
If you want to be intellectually, personally and spiritually challenged, go to Goddard. If you want an easy degree, go somewhere else. I don't even really care that I got a sheepskin (although it's useful), I'm more excited about what I learned and continue to learn as a result of my studies at Goddard. Don't be afraid, it's not hard core, it's whatever you shape it to be (except easy)! Come prepared to be in intense discussions with interesting folks, do a ton of reading and writing, and be in a talent show. Campus is beautiful and the food is good.
Residency Sites: Port Townsend, WA
I am a performance maker and community artist, a witnessing critic and theorist, an educator and a disability culture activist. My journey as an artist emerges from a passionate exploration of performance ethics and community building.
What we call ‘art’ is up for grabs, needs to be re-thought, re-created, every time we step into the river of practice. I know this because as a disabled dancer living with pain and fatigue, I have to subvert the ordinary, have fun in unusual spaces, and find time out of time. For over twenty years, I have engaged community participants gently and with thought in process work. Some of these workshops happened in women’s centers, some in hospices, in mental health self-help groups, with youth groups, with traditional Weavers and Knitters Guilds, with politicians, with people labeled as ‘developmentally disabled’, with cancer survivors, in National Parks, in abandoned buildings, on the beach. In these art journeys, we use what becomes important to us: dance, theatre, poetry, video, mark-making, sculptural attention to material and space, sound art, installation and live presence. Together, we change the world, and create a more inclusive future.
These experiences, and teaching community arts in Wales, England, New Zealand, the US and Australia, created many questions and ideas, which I collected in a how-to tool-box, the book Community Performance: An Introduction (Routledge, 2007).
I am the Artistic Director of The Olimpias (www.olimpias.org), an artists’ collective. We create collaborative, research-focused environments open to people with physical, emotional, sensory and cognitive differences and their allies. In these environments, we can explore pride and pain, attention and the transformatory power of touch. Olimpias artists have deep insight and creative ability, but they might not be able to attend rehearsals regularly and extensively, and they cannot guarantee their presence at any one performance. We make this difference into a virtue, querying art and performance paradigms, and use new media and alternative performance structures to allow for an open work process. We film our process creatively and use multi-channel video installations or telematic approaches to have virtual if not always live presence.
We use presence, slowness, pedestrian movements, a poetics of words and bodies, and the deep affective register of touch to share our beauty and our critique. In most Olimpias sharings in the last year, we invited the audience members to sit in a circle with the performers, to physically engage. To give the gift of closeness, to be near someone whose embodiment is wholly different from yours and to be so in a playful way: that’s what we offer our audiences.
There’s tensions in Olimpias projects such as Anarcha (http://liminalities.net/4-2), an exploration of black culture/disability culture issues, medical ethics and the lasting effects of slavery medicine and racialisation; or Tiresias, a project based around issues of sensuality and sexuality. These tensions of identity and difference emerge in many identity politics and minoritarian art projects, and I am looking forward to fruitful and respectful exchange about art making, cultural identity and poetic politics with students and faculty at Goddard. The Olimpias call for disability culture while we are aware of the limits of this term, of the disconnect between individual experience, historical oppression and the cultural formations we speak into being.
I am a non-native English speaker, a first generation college student with a strong commitment to working class issues, and a feminist. I have lived in cultures where mythological connections to the land and multiple language communities have strong presence in everyday, political and art life. Fractured storytelling, willful mythmaking and an attention to the materiality of meaning-making are part of my creative attention to life.
I bring my attention to process, environmental location and ethical engagement to my pedagogy. My hope is that we can create journeys together towards personal and artistic growth. I see my teaching at Goddard as part of an artists’ conversation, giving and receiving, paying attention. Let us develop attention to the deep patterns that shape our desire to create art. Let us enable an exploration of the influences that shape the art maker and their cultural, historical and political embedment, in order to carry art practice into the future.
My art work, pedagogical labor, activism and critical writing are all part of a continuum. I believe that writing about art extends the circle of art’s reach and political vibrancy, and so I have published widely in journals such as TDR: The Drama Review, About Performance, Liminalities, Afterimage, the Quarterly Review of Film and Video, and differences. My books include Disability and Contemporary Performance: Bodies on Edge (Routledge, 2003), The Scar of Visibility: Medical Performances and Contemporary Art (Minnesota, 2007). I have also recently published a book of performance poetry, co-written with performance artist Neil Marcus and with photos by Lisa Steichmann, Cripple Poetics: A Love Story (Homofactus Press, 2008).
Beyond my work at Goddard, I am a faculty member at the University of Michigan in Ann Arbor, where I teach in performance studies and disability studies. I spend summers in Berkeley, California, and perform or run workshops internationally.
PhD in Performance Studies and Feminist Theory, Falmouth College of Art; MA in Germanistik, Cultural Anthropology, Theatre, Film and TV Studies, University of Cologne; MA in Film Studies, University of Warwick.
Juliana Borrero is a Humanities and Language teacher in the Universidad Pedagógica y Tecnológica in Tunja, Colombia. She began looking for a degree in creative writing, but when she saw the way the low-residency MA in Individualized Studies program integrates the theoretical and the creative, she felt she had found her place. Since she completed her Goddard degree, her creative and research projects have changed radically.
Juliana: I came into the program asking "Can subjectivity play a role in research? Can my writing have a role in my academic work? Can academic language be more vital?" My larger question was: "What can be the relationship between academia and life?" I answered these questions in theory in my second semester; in my last two semesters I began to live them, to embody them. The main shift that happened for me at Goddard - and it changed everything - was away from "this is what I have to do" and toward desire and the body. I've always been a good girl, dutiful. In this program I was asked: "What do you want? What do you want to do with all this?" and then nurtured, inspired, pushed to take it forward in the bravest possible way.
As a writer, I recovered the possibility of play in language. Of loving to write. (One thing I never ceased being in awe of: there are amazing writers in this program, there is amazing writing being done.) I explored the unknown and scary: the question of woman, of mother, of pleasure. Goddard allowed me to work from my edge. I didn't know the edge was so important for me.
Right now, I am making tunnels between embodiment, psychoanalysis, philosophy, art, and reflection on language. I am working to propose a conversation I feel everyone locked up in their little disciplines is evading. This is hard work, it requires understanding, shattering, and the thrilling construction of ways of bold, honest, and beautiful ways of knowing and being.
At the university in Colombia where I teach I have formed the Language and Peace project with a group of students. This project is based on the idea that if we are aiming at a community where things can be expressed and the recognition of difference is possible, then the conception we have of language and the relation that we have to it, must be drastically remodeled. As a group, we explore the questions we find in theory through the practice of writing; questions like: what does it mean to be incommunicated? what do we know about the other? what do we have to say about the experience of being women? what roads has writing from the body sent us down? We then take this writing 'beyond the page' in the form of installations, performances, and actions in order to incorporate the community in our reflections. These actions have been widely attended, producing passionate responses, silent awareness, and often harsh criticism, which has served to make us stronger and more mature as performers.
Within the university curriculum, I am now giving classes in epistemology that start with the questions "What do you love?" and "What did you know in the womb?"
Finally: I say at this moment that I am an artist at work, a writer and theorist, shyly but surely delving my tongue into performance art. My dream is to organize a living web of artists and writers who think like I do, that thought is inseparable from creation, that creation is inseparable from creating oneself - that this is the work, the most exciting work of all.
Excerpt from Juliana's thesis, Autobiography of my tongue: towards a new language myth:
1. The making of an academic. Or the unmaking. This is the story of my evasions. The story of my rebellion. This is the story of coming into dialogue, into language, struggling for an academic existence committed to the social world, for a persona not detached from body, desire, life. It is the story of the explosion of certainties, the dynamiting of lies, the shedding of skins, the coming out into a theory and practice of language fresh and vulnerable and new- that is only beginning to show its moist, green bud. So much has been done, but almost everything is yet to be said.
2. Oh, dear, I had almost forgotten: I am a woman. I had never really stopped to think about it; I mean, I had never thought that it might have something to do with the sensation of being educated with a knowledge that never quite fit. I never thought it had something to do with the feeling of never being home, always being strange, foreign, stranger. Speaking in a language that always was like speaking in tongues. Crazy woman, opening up drawers inside herself and getting celebrated for those drawers. And what when I pulled them all out. What would I find there? Would I be bold enough to make sense of the air running through my hollows? With only these air holes, these empty spaces (not language), to invent, to reinvent, the self.
3. I am a woman thinking about language in academia. Anyone who wants to understand this quest will have to hear the story of the flood. How I had language and loved language, but the more I had it the more I wanted it to be true. I wanted powerful language, magical language, melodic language, and thus all the false words started to fall away, every day a new handful of them, until the distressful moment when I realized that the only word I still wanted was on the other side. I had spoken of breaking language in order to find a language for myself but I hadn´t reflected on what would happen if I pursued this mission beyond simply stating it as a kind of cheeky comment. Sailing through the walls like Alice. Learning that stillness is really movement. I became a sort of witch and when I arrived at the other side, I was all alone with my one word and no other. I was all alone and afraid, and alone, and lost and nothing made sense anymore.
4. A woman is walking in a thunderstorm under a red umbrella. Her face is completely placid, as if she knew home was far away, her feet were already wet and she was enjoying the drumming of the rain on the surface of the umbrella. Everyone else on the street is either taking a taxi, running hysterically, or locked up in their homes. Yet she walks on, like an angel of the times, an angel against the times, an art form, a performance, a cry, a complaint so sure of itself it is uninterested in others' reactions. If this is what it means to be human, this hysterical running into taxis, this locking shut of doors, then I am with the rain. I am with beauty and I will offer no excuses for walking at my own pace. So let the thunderstorm come in. Let my language open up and swallow it whole. Let the storm come in, the contradiction. Let all the water in heaven come down, and make the grass grow, make the plants inside me grow. I want to open myself and show these words like wild flowers, this garden, and not have to argue, and not have to justify. It is all there. Look anywhere. Follow the tracks of the authors. It is written in the "corpus" of academia. There is the howl for a sense of living. For a return to what palpitates. Let this old form crack open, fall to the sides of me, and leave only the impossible text. Woman in a rainshower. I have been pressing these pages under my jacket, tightly against my breast, to keep them dry. It is impossible. I am all wet. When a woman writes with full knowledge of what it means to write as a woman, every single page gets soaked. The letters blur. Rivers run down the pages. The text overflows into a larger structure. The page is only one point in the constellation that is text. The rest is cosmos, forest, body, other, full-fleshed life force refusing to be ignored.
5. [Real, I say and dump a glass of cold water on his head. You are real she says and gently bites the tip of my shell. I know it´s real, he says, and her eyes well with his tears. Will we be brave enough to embrace what we want when it is in front of us? Will we be able to make home in the moving ground where it all comes together? Or will we consequently dissociate... multiply... dissolve? Will we be smart enough to re member the intelligence of affection? ]
With scars like tattoos. With language like rain. Silent rages and essential disbelief. And nothing but lies to redeem them. Language like eyes, piercing the masks we have so carefully fabricated. Its sound sonority, caressing all of our abortions like a plaster of wet herbs, all of our unknowing, our blindness, our imprecisions, our pretension, stories swallowed up and stored in boxes like teeth Only language, its soothing undertones, to woo to sleep this ocean of evasion. Language being filled with such desire for truth spelled out as love, embraced as life If only our words could be used to ask forgiveness for so much ingratitude. How will we know when the lying stops?
Academic Publisher, Staff
Residency Sites: Plainfield, VT , Residency Sites: Port Townsend, WA
I was in a Masters program in Education when I felt a wave of wanting to be in spiritual practice. A gifted professor wove together Toni Morrison, Freud, the myth of Psyche and Cupid, and the professor’s own interviews with 9-13 year old girls. Voice, resonance, relationship, democracy. "The honesty of things is where they resist." This is it. Raised Jewish, I didn’t speak Hebrew, didn’t know if I believed in God. Can I be a Rabbi? I heard that some Jews see God as the relationship between people. Arms linked. That is where I see God.
The Ven. Bikkhu Bodhi, a Theravada monk living in New York, says that truth telling is something Buddhism can offer social engagement. What are the relationships, processes, and institutions that encourage truth-telling?
And I thought, well, since I don’t believe in God and don’t speak Hebrew, I’ll become a professor. Same thing as a Rabbi, right? I didn’t find it there easily, at least in the rest of my graduate school experience. It was only while on faculty at Goddard that I undid my head and connected to my whole being, since that is what our pedagogy is about.
Since 2005, I've been a member of the Community Economies Collective, a group of about twenty scholars in the U.S. and Australia documenting non-capitalist economic spaces. My focus has been money and banking systems, in particular. I love worker co-ops. I am a fan of auto-ethnography, testimonio, storytelling in its many forms --from cantastoria, song cycles, puppet shows, and comics to storytelling circles, podcasts, and documentaries.
These days my focus is writing about socially engaged spirituality and practicing Zen Buddhism. I was away from Goddard for almost two years directing a socially engaged Buddhist project with Bernie Glassman at Zen Peacemakers. Until recently, I was an accordionist in a band, and now I'm learning ukulele. My prior research is on art activism.
I am very interested when people say, "This is what democracy looks like." I think we don't yet know what it looks like, and I am drawn to models like sociocracy and consent forms of decision-making. I am devoted to democracy as a spiritual practice and to learning how to do it well.
PhD in Sociology, Brandeis University; MEd in Human Development and Psychology, Harvard Graduate School of Education; BA in Medical Anthropology, Brown University.
Rhonda Patzia is a gifted photographer who has been left partially blinded by multiple sclerosis. When her photography business collapsed, Goddard represented new vocational hope. Once she had enrolled in the low-residency MA in Individualized Studies program, what had begun as a well-thought-out plan to study Transformative Language Arts became an exploration of territory she had never imagined.
Rhonda: What Goddard gave me was an extended, longterm passion - an on-fireness - that I never felt before. It began when I started to read female and feminist writers, and it directed what I wanted to study. Because I wanted to see and value women I reincorporated photography into my life, I photographed women at Goddard's fall and winter residencies, most of them naked, some in the snow. The aim was to encourage us all to root ourselves in the reality of our bodies.
After having agonized for several years about being unable to rise above my disintegrating body to live somehow as 'pure spirit,' I began in the low-residency MA in Individualized Studies program the transformative work of body awareness. Since MS affected every corner of my being, I was compelled to honestly and sometimes painfully confront my identity as a body. I learned that if I denied any aspect of my physical self, I would live weakly. With body awareness I am more vibrantly and powerfully present. My body is my identity: I am female, a sexual being, a mother, a thinker, an artist, a feeler, a product of experience and memory, and I am ill. In my thesis, Mindfully unraveling, with disease as a backdrop, I explored these identities and more by creating a mosaic of written pieces that together demonstrate the arduous and mindful work of rooting myself in my fullest, most earthly identity.
I really can't imagine a better sort of education for me. The low-residency MA in Individualized Studies program not only gives you the freedom to explore; it brings out your passion and then channels it. And my life after Goddard has been a continuation of this work. My thesis has meant a lot to many people. An ICU nurse who found me on the internet started sharing my writing and photography project with her friends and colleagues. She said it affected what she and other nurses were doing on the floor. The nurses read the essays, looked at the photos and came away with insight into their own lack of body self-acceptance. This insight made them more present to their patients. A friend passed the thesis on to a 60-year-old woman with MS who used to be afraid to go shopping or walk around outside for fear of falling. She said my thesis gave her courage every day of her life. At the insistence of all of these women, I've decided to try and get the thesis published.
I faced my mortality in my thesis, and it scared me but it was also a good thing because when I had faced my body disintegrating I also realized how much it was still intact. This gave me a new courage for life; in fact it gave me the confidence to try to get pregnant. I graduated in June 2004 and Marco was born in October of 2005.
I have been an artist and an arts activist for over twenty years. My artistic communities have been in Northern California, San Francisco, New York and Minneapolis. I am trained as a theater director and theorist and have directed scores of new works with playwrights and performance artists. Early in my career, I began to adapt, write and direct productions that asked questions about the role of language and linear narrative. Under the influence of Jerzy Grotowski, I began to explore the ways in which meaning could be expressed without language. I created two Shakespeare productions in the woods, where performers used only gesture and sounds to communicate.
As an extension of these ideas, I began to incorporate choreography, still images, tableau, and sound compositions in my work. My recent projects have been installation pieces that utilize live performers, animals, and found texts. These pieces ask questions about the construction of memory and history against the backdrop of “lived” events. I created four pieces on this subject over the past several years and used theater spaces and art galleries as venues. My last piece was an installation in a photo gallery. It involved the choreography of sound/speech, film, trees, mice, projected images and lighting. Please see my website for the most current work.
I am the founder and manager of Minneapolis’ Center for Performing Arts, a converted convent where dozens of artists and hundreds of students from different disciplines work, teach, and learn. At the Center, I spent the last 13 years creating a community of artists. As part of my on-going interest in bringing artists together, I also created performance festivals in San Francisco and New York City. I was the co-founding director of the West Coast Women’s Theater Conference in SF and Co-Creator the first Performance Studies International Conference at NYU. I taught at Macalester College and St. Thomas University in St. Paul, MN and New College of California in San Francisco. I’ve been a Visiting Scholar at the U of M in the Center for Advanced Feminist Studies.
My academic writing has been on feminist theory, and feminist performance art. I have written about the aesthetics, creative process and politics of women’s group theaters. My other areas of expertise are in experimental theater, history of the avant-garde, and theories of performance.
PhD in Performance Studies, NYU Tisch School of the Arts; MA in Theater Directing, Humboldt State University; BA in Political Science with a minor in Acting, University of Wisconsin-Madison.
Residency Sites: Plainfield, VT
In 2009, City Lights published my twelfth book, American Romances, a collection of gonzo essays that put Brian Wilson (of the Beach Boys) and Hawthorne on the same page and reveals the secret sex life of H. G. Wells' The Invisible Man. My previous books with City Lights include The Last Time I Saw You (2005) and The End of Youth, (2003). My book Excerpts From A Family Medical Dictionary (Granta, UK and University of Wisconsin Press, USA) was published in February of 2004. I am also the author of The Gifts of the Body, The Terrible Girls, Annie Oakley's Girl, The Haunted House, The Children's Crusade, and What Keeps Me Here. My work has been awarded the Boston Book Review Award for fiction, The Lambda Literary Award, The Pacific Northwest Booksellers' Award, and a Washington State Governor's Award and a Stranger Genius Award. It has been widely anthologized, including stories in the Norton Anthology of Literature by Women. Five of my books have been translated into Japanese where they are published to much acclaim. My work has also been published in Great Britain and translated into Danish, Norwegian, German, Italian and Dutch. I have also co-edited a couple of books. These include Experimental Theology, with Robert Corbett of the Seattle Research Institute, an anthology that contains poetry, fiction, essays, academic stuff and theater about God and god-substitutes and Looking Together: Writers on Art, with Mary Jane Knecht of the Frye Art Museum was published by University of Washington press in March 2009.
In recent years I have been collaborating artists in different disciplines. I wrote the a libretto for The Onion Twins, a dance opera by Better Biscuit Dance that premiered in 2005. In 2005, my first two act play, The Toaster, premiered at the New City Theater in Seattle. My book The Terrible Girls was adapted for theater by About Face Theater in Chicago and performed there in 2001. I have also written performance texts for Launch Dance company. The Los Angeles New Short Fiction Series adapted four pieces from The End of Youth for performance in November 2003. For a number of years I did a series of irreverent public talks sponsored by the Seattle Opera that offer pop culture/feminist/literary and goofy analysis of opera. With painter Nancy Kiefer, I made a book of text and image called Woman in Ill Fitting Wig. I have read on book tours across the USA and in Italy, Germany, the United Kingdom, Austria and Japan.
I have taught for more than 25 years in numerous settings including the University of Washington, Extension, Pacific Lutheran University, Naropa University in Colorado, prisons, senior citizens' homes, libraries, and bars. For four years I was the Creative Director of Literary Programs at Centrum, an arts center in Port Townsend, Washington. For two years I was Writer-in-Residence at the Richard Hugo House Literary Center in Seattle where I served as Senior Teacher, met community members for writing consultations, and curated an eclectic reading/performance series. I have also curated readings for The Jack Straw Foundation, Red and Black Books, and my local NPR affiliate. I have served on selection panels for the Millay Arts Colony, The King County Arts Commission, the Bumbershoot Arts Festival, and the Washington State Arts Commission where I have championed the work of both traditional and non-mainstream writing. I have been awarded residencies at the Yaddo Colony, the Hawthornden Castle Writing Retreat in Scotland, the MacDowell Colony, Centrum, The Millay Colony, and Hedgebrook Cottages for Writers. For many years my criticism, reviews, and essays appeared in the Seattle-based arts weekly The Stranger. I have lived in London and Italy and now make my home in Seattle with my spouse, our cats, and an impressive collection of rock-n-roll, classical, and weird CDs.
MFA in Creative Writing, University of Virginia; BA in English, George Washington University.
Residency Sites: Plainfield, VT
With writing, we connect, we reach, we explore possibility; writing enlarges us so that we can contain continents and solar systems, discover other centuries and imagine other futures, or simply better understand what is now. When I work with students, I encourage them to find what is important to them in their work, and be true to it, to avoid compromise and trends and let the work create the writer, while the writer is creating the work. I am a novelist, journalist and writing instructor. My published novels include: The Sweet By and By -St. Martin’s Press; Dreams of Empire- Kensington Books; The Queen’s War-St. Martin’s Press; and The Frenchwoman-St. Martins’ Press. Most recently I published a trilogy of mysteries with New American Library, writing as Anna Maclean. My nonfiction books include: The Book of Love, editor, with Diane Ackerman, W.W. Norton, and The Cornell Book of Herbs, Cornell University. I’ve published short creative nonfiction and written feature articles for The New York Times, Americana, Fiberarts and other national publications. Working with Finger Lakes Productions, I helped develop, write and edit scripts for nationally broadcast radio programs including Nature Watch and the Ocean Report with Sylvia Earle; I am an applicant reviewer for several grant foundations. My awards include a creative writing fellowship from the American Antiquarian Society, Exceptional Achievement in News Writing from the Council for the Advancement and Support of Education (CASE) in Washington, D.C. a Wesleyan University Summer Program Scholarship in Creative Writing, and a faculty development grant from Goddard College. I am a member of the Author’s Guild and The Historical Novel Society. My website is www.historiesmysteries.net.
MFA in Creative Writing, Bennington College; BA in English with minors in Art History and Philosophy, Ithaca College.
As I update this narrative in early 2009, I ask whether I still feel as optimistic toward Goddard College as I did when I was completing my BA in 2003. Without hesitation, I answer that the IBA Program profoundly affected me and continues to have positive impact on my life. I studied creative writing, women’s history and feminism. I could not have been happier with the school, from its administration, to the campus, to the advisors and fellow students. Even those advisors with whom I did not formally study were helpful to me when I had questions that pertained to their particular interests and expertise. The residencies were busy and productive. I always looked forward to them. Even with the busy schedule, I made time to write and to explore the campus, the library and downtown Plainfield. My final IBA product was a novel with a creative process paper. Often, when I talk to prospective Goddard students, they express concern about having time to “go to school.” Here is my answer. If you want to make the time, you will have the best times of your life because you will be involved in a program that has far-reaching and long-term impact on the way you act and react, on the way you go about living. When I did the IBA, I was a single mother, full-time employee and freelancer. It all worked out and I was able to get the packet work done. In fact, I enjoyed the packet work. The Goddard community taught me to how to engage with the beautiful and limitless possibilities that result from rigorous, critical engagement and experimentation, from reaching beyond one’s current ideologies and practices to experience personal and professional growth. Please, if you have questions or concerns send me an email.
The mantra of Goddard College, “Trust the Process,” began for me during my first telephone interview with an advisor after I submitted my application for enrollment. I was looking for a graduate school that would not only accommodate my continued studies in researching exceptional human experiences, but would also accommodate and honor my personal life as well.
Goddard College was the perfect fit for me, a woman in her mid-fifties, who was told 10 years prior by a neurologist regarding injuries sustained in a car accident, that I would never finish my college studies. With the guidance of supportive faculty members who recognized my determination to fulfill my dreams and succeed in all aspects of my own “exceptional human experience," I proudly completed my Individualized Master's Degree in Consciousness Studies.
With this degree come the tools and experiences to assist others to consider the challenges one may face along the journey toward their dreams and all it encompasses. Goddard College was the guiding light that helped me to stay “illuminated” and believe in myself both academically and personally. The roots of my connections to Goddard run deep and the family tree continues to branch out to this day as I stay in touch with faculty and colleagues.
Ralph H. Lutts
Residency Sites: Plainfield, VT
How did I arrive here and what do I have to offer students? It all happened through a series of accidents and opportunities as I pursued my many interests and efforts to do something in the world. I set out to become a biologist, became and educator, and am now an historian (among many other things). I’ve been employed as a naturalist, museum director, bookseller, and college professor. I’ve studied and written about popular culture and film (I’m an authority on Bambi), children’s literature, eco-criticism, environmental history, Appalachian history, and place.
Long ago, I aspired to be a playwright, poet, and nature photographer. My interests are wide-ranging but my entire career has addressed issues related to environment and sustainability in a variety of contexts. I spent twenty years providing environmental and place-based approaches to education as an educator and manager at museums and nature centers. In these capacities I also worked for open space and endangered species protection. I am interested in the power and potential of the local, which is an important aspect of my work in place studies.
I am an environmental historian who has studied the history of sustainability, semi-subsistence living in the Appalachian Mountains, and environment and popular culture, and who is now examining the history of violence in appropriating natural resources from African Americans. In addition, I am a naturalist who delights in helping people to read the stories in the landscapes around them. I believe that effective efforts to promote sustainability work on the levels of both personal practice and public policy.
The ultimate solutions to our problems lie in a complex mix of natural and social science approaches to understanding, personal practices, community mobilization, and transformations in social values and spiritual roots. These solutions also need to respect and reflect the rich diversity of cultural values and practices throughout our nation and around the world. Each person can contribute to this effort in ways that work best for themselves.
To look at my background more specifically, I have written and edited two books about the nature fakers controversy that involve Teddy Roosevelt and a multitude of naturalists and nature writers. Some of my other publications examined the impacts of Disney's Bambi on American attitudes toward nature, the historical context of Rachel Carson's Silent Spring, the role of story and home in creating a sense of place, and the historical importance of chestnuts to poor mountain folk in the southern Appalachians. I recently did a presentation at the Sterling College’s Rural Heritage Institute regarding the concept of place as related to localist movements. I am presently studying the massacre in Rosewood, Florida, which occurred early in the twentieth century. I taught a series of field courses on place-based approaches to natural history for the University of Virginia and worked as a naturalist at Hampshire College. I enjoy working with students in a variety of fields, including popular culture studies, place studies, history, environmental studies, education, literature, the natural and social sciences, Appalachian and regional studies, natural history, museum studies, the management of nonprofit organizations, and much more. I particularly enjoy helping students in interdisciplinary projects. Thought, emotion and spirit must go hand-in-hand as we try to understand and deal with the major social issues of our times. I recognize the individual and cultural importance of story, myth, and emotion, and am interested in ways to balance them with our larger understandings of our world. I tend to approach issues as a skeptic who likes to test and probe beneath easily accepted assumptions and have some fun in the process.
EdD in Environmental Education, University of Massachusetts/Amherst; BA in Biology, Trinity University.
Residency Sites: Plainfield, VT
Meg Hammond is the Events Manager at Goddard College. As a collaborative effort with WGDR Community Radio, she coordinates the successful Goddard College Concert Series at the Haybarn Theatre. Meg also coordinates the pop-up Goddard Art Gallery at 54 Main in downtown Montpelier, and other arts events both on and off campus.
She was the former founder and owner of Montpelier's Langdon Street Cafe, a popular art house, coffeehouse, and music venue she and her partner ran for seven years.
Meg sets the stage for anything to happen when she puts on a show at Goddard College!
Meg Hammond | Events Manager
Goddard College | Advancement Office
123 Pitkin Road, Plainfield, VT 05667
802.322.1685 | email@example.com
BoT Publisher, Staff
Faculty Publisher, Staff
Residency Sites: Plainfield, VT
What I call “radical inclusivity” is my commitment to life. I seek to break down the walls that separate “us” and “them:” one from another, culture from culture, religion from religion, community from community; and at the same time to respect the integrity and wisdom found in every expression of life on this planet, from plants and animals to differing human communities and cultures, and finally to differing personal ideas, beliefs, and practices. I cannot say I as yet fulfill this commitment completely. We all have lifetimes of conditioning that need examining because they impede living in true compassion and gratitude. Learning and growing never ends.
As this goal has evolved in the course of my life I have developed my critical and intuitive thinking about cultural and applied anthropology, the histories of colonialism and neo-colonialism and international “development,” world religions, feminism, and art making: earning various graduate degrees in Psychology/Art Therapy, Anthropology, and World Religion. My global view began at the tender age of 12 years when I moved with my family from our insular life in Lincoln, Nebraska to Lahore, Pakistan. South Asia calls me still and I have since lived several times India and Nepal for never less than a year at a time. I have experienced first hand in many cultural settings the damage that is done when we try to “understand” another way of being by co-opting what we assume to be their beliefs and practices, or to “help” or “convert” others to our beliefs and practices, no matter how well meaning we may be.
We all tell stories and we have since the beginning of language, art, music, etc. We each tell stories about how the world works, who we are, and who we want to become, about the societies and cultures we live in, and those we don’t. The folklore of our everyday identities is shaped and reshaped continuously. The words we use to describe ourselves all have stories behind them. I am a healer, an artist, an activist, a writer, a scholar, a contemplative monk without the cloistered walls. I have worn many “hats”: starving artist in NYC, massage therapist/healer, psychological counselor and art therapist, ethnographer in Varanasi, India, executive director of a non-profit, consultant for USAID in international development, co-founder of a free integrative health clinic in Tucson Arizona serving mostly undocumented immigrants, faculty member, and minister of a small interfaith center. Each one of these experiences has taught me about "situated knowing".
I love to ask questions that take me deeper into the meaning of life. I love entertaining your questions. I learn so much from my students. I believe there are no all-encompassing “answers” to the big questions. Each of us must forge our own path and we inspire others while doing so. I revel in the mystery of life.
PhD in Cultural Anthropology, Syracuse University; MDiv in Contemplative Interfaith Theology, Prescott College Interfaith Theological Seminary; MA in Psychology and Art Therapy, Antioch University/Seattle; BA in Anthropology, Syracuse University.
James S. Fitzgerald
Residency Sites: Plainfield, VT
I graduated from the Fielding Institute in Santa Barbara, CA with my Ph.D. in Clinical Psychology in 1986. Before that, I earned a Master's (M.Ed) and a Specialist (Ed.S) degree in Counseling and Psychological Services (CPS) from Georgia State University in Atlanta, GA., where I currently am an Adjunct Assistant Professor in the CPS Department. My professional career has been devoted to the private practice of clinical psychology and I maintained my practice for 27 years in the Atlanta, Georgia area. Over fifteen years of it were spent on the campus of a private psychiatric hospital working with a broad range of clients including substance abuse. In 2005, I retired my private practice and moved to the mountains of north Georgia. I have been teaching at Goddard College since June, 2001.
In my private practice, I served a broad client population including adolescents (fourteen and up), adults, elderly, and couples. I specialized in working with gay men and gay couples. I have an extensive background in neuropsychology and psychological testing including most test instruments.
As a volunteer, I was instrumental in creating Division H, The Division of Sexual Orientation Issues, within the Georgia Psychological Association. The Division is active in promoting LGB research and convention programming. On a national level, I have served for seven years on the Executive Committee of Division 44 of the American Psychological Association which is The Society for the Psychological Research of Lesbian, Gay and Bisexual Issues. I have also served as president of Division 44 and on the APA's Committee on Lesbian, Gay and Bisexual Concerns (CLGBC).
On a personal note, I was born and reared outside of Richmond, VA., have an adult son, and served eight years in the United States Air Force during the Vietnam era.
<p>PhD in Clinical Psychology, The Fielding Institute; EdS in Psychology and Counseling, Georgia State University; MA in Clinical Psychology, The Fielding Institute; MEd in Psychology and Counseling, Georgia State University; BA in Psychology, Bryan College.</p>
Goddard College holds an undeniable place in my writing/recording career. In 2000, I arrived with a plan of action, an objective: to explore what it means to be an artist in today’s world. I was admitted into the undergraduate program—when Goddard had a residential program— and later the M.F.A. in Creative Writing program. I left Goddard College in 2006, with a blueprint and a plan of attack to become successful. Early on in my studies, Professor Nora Mitchell instilled in me an old saying attributed to Mahatma Gandhi, "We must be the change we want to see in the world." After internalizing this quotation, I took it as a direct challenge to change the world from the frontlines of my art form, which was poetry. Not only did I set out to revolutionize poetry, I set out to place that revolution at the doorstep of the world.
Shaping a revolution, especially an artistic one, is built on planning and action. It’s mostly centered on the latter, so being an agent of change was easy. I decided long ago, at the age of nineteen, what I wanted to accomplish. I started a company called Guerrilla Ignition LLC—an independent recording, publishing, and film company. After starting the company, I started writing and recording at a rapid pace. Now, at this point in my career, I’ve recorded more than eighty solo spoken word albums and I’ve written ten books. I began public speaking at local high schools, teaching workshops, and facilitating poetry workshops and poetry festivals. Once I had broken new ground, and established new territory within the art, I began recruiting other poets and writers to join the movement.
Goddard College helped me to hone my craft and my voice. The institution allotted me the space to experiment and grow, as an artist. Much of my early production was created at Goddard College, which helped me to develop an ear for audio engineering and recording. Intense writing workshops, highly developed reading lists, and personal relationships with students and faculty contributed to my understanding of how artistic individualism can affect communities. My time at Goddard College was used to establish a method of turning tradition on its head.
Residency Sites: Plainfield, VT
After spending much of my life teaching mathematics in mainstream academia, I am utterly delighted to find myself at home at Goddard, where, instead of looking for mistakes to mark wrong, I can focus on finding and appreciating what is right and precious. My sense of the right and the precious is deeply informed by many years of Buddhist practice, study, and teaching. Recently the Zen teacher David Loy, the environmental historian William Cronon, and the activist Lierre Keith have energized me to take a deep Buddhist look at the looming ecological disaster that awaits not just humanity but also Mother Earth. As a participant in the dialogue between Buddhism and Western science, I look at the relationship of body and mind, at the nature of consciousness, through the bifocal lenses of Buddhism and science. My contribution to an early Mind & Life dialogue with His Holiness the Dalai Lama was published in the book Gentle Bridges. Recently I have been an active participant in the splendidly interdisciplinary SAND conferences (www.scienceandnonduality.com). I have a great liking for Marshall Rosenberg’s Nonviolent Communication (NVC), which strikes me as a sophisticated version of the Buddha’s Right Speech. NVC suggests Restorative Justice as a guiding principle for our criminal justice system. Inside prison I have taught NVC and meditation as complementary skills very useful for someone locked in a room with a lot of anger, his own and that of others. On a Restorative Justice panel in my home town of St. Johnsbury, I have found that NVC guides my presence and participation. As “the math guy,” during residency I am continually confronted by the pain and anxiety that surround the academic subject to which I devoted a large chunk of my life. Now I am passionately devoted to healing the wounds of our toxic system of math education, and am convinced that all students can complete the “math as lived experience” requirement in a way that is at least meaningful and perhaps even joyfully healing. This aspiration is being realized in the ongoing construction of the Joy of Math website (sites.google.com/a/goddard.edu/joy-of-math/). Now, I have my own issues with mathematics, particularly with its arrogant assumption of transcendence, of absolute truth. Yet I do still take joy in math, these days particularly in Japanese Temple Geometry, which refers not to the design of temples, but rather to the Edo period in Japanese history, when the borders were closed to Western influence. Geometry was cultivated in Zen and Shinto temples as a discipline that was simultaneously intellectual, artistic, and spiritual, with no “practical” applications whatsoever. Temple Geometry has inspired the essay “Mathematics and War: from Sacred Geometry to Pearl Harbor” and the slideshow “Geometric Art / Beautiful Geometry”, which can both be found at mathandculture.net/temple-geometry.html.
PhD in Mathematics, Princeton University; BA in Mathematics and Physics, Haverford College.
Hi! Chances are, if you're reading these bios, you have questions. I would love to talk to you to help you answer some of those questions as you consider Goddard! At Goddard I wanted to focus on gender studies within music education. I wanted to understand the relationship between the gender of a student and their musical instrument choice. I also needed to complete a masters degree to further my career in education. Goddard was a place that fit my lifestyle. I was part of the first group of students in the 3/4 time degree. Instead of 12 credits a semester, I would earn 9. It took me a total of four semesters to complete my degree. The big advantage I found about this new program was that I could just attend the summer residency and not the winter residency. I could not take a week out of work to go to the winter residency, so the part-time program worked wonders. In place of the winter residency, part-time students attended the July Institute for Progressive Educators immediately following the summer residency. The only downside of the part-time program was NOT going to the winter residency! At the July Institute, we were allowed to bring forth specific challenges and issues in our own teaching to dissect before a smaller group of experienced educators. I was able to connect with other teachers around the country who weren't necessarily in the Goddard program, but came to the week-long workshop for professional development and enrichment. I was able to explore how to bring a more progressive, holistic approach to my teaching within a traditional public school setting. I found my time at Goddard to be extremely rewarding, challenging, and fulfilling.The residencies are the highlight of the program. The openness, support, and flexibility is immense. Within one week you grow as an individual thinker, planner, and optimist. My faculty advisor was wonderful. She was very knowledgeable, caring, helpful, and reassuring. The residencies allowed everyone to be a part of a study group where we would build, tear apart, rebuild, and critique our plan for the upcoming semester, and in my case, the upcoming year. When you hear the phrase, "Trust the process," they mean it. I look back on my time at Goddard with a strong sense of accomplishment, pride, and optimism. I have lasting friendships that started at Goddard. I bring my own research and the "Goddard experience" I had into my classroom everyday. We are fortunate to have a place like Goddard to push the envelope for more progressive, holistic education. Please consider Goddard. I would love to talk with you!!
Peter Schumann is the founder and director of the Bread & Puppet Theater. Born in Silesia, now Poland, he was a sculptor and dancer in Germany before moving to the United States in 1961. In 1963, he founded Bread & Puppet in New York City, and in 1970, Schumann and his company were invited to come to Goddard as the College's first Theater-in-Residence.
From 1970 to 1974, hundreds of Goddard students participated in Bread and Puppet workshops, parades, and demonstrations and toured with the Theater.
After a few years, Schumann composed his first Domestic Resurrection Circus. Blending vaudeville comedy with political commentary, as well as the company's trademark giant puppets, the Circus became a tradition each summer. After Schumann moved to Glover, Vermont in 1973, the Circuses continued. The Domestic Resurrection Circus's last year was 1998, when over 30,000 people attended. Since then, a smaller circus is performed every weekend during the summer.
Bread and Puppet is one of the oldest, nonprofit, self-supporting theatrical companies in the country.
Residency Sites: Plainfield, VT
My 'highest' academic degree, a PhD, is in history. Thinking about the location of the present as part of a continuum between the past and the future best explains for me how this world came to look as it does, and where we might go next. Sustainability is, after all, a question of how we survive as cultures and societies that reach across the stretch of the years, so for me considering history is the logical way to think about sustainability. My academic specialties are the less traditional fields of environmental, agricultural, and world history, because I am most interested in how all the parts of this globe fit together in that river of time, whether the parts are the human and non-human pieces, or the different places on the planet. Reflecting critically on the histories we tell, and the assumptions they are rooted in, connects particular stories to the deeper social points of view that generate them. As a sociological thinker, sociology being the field of my undergrad degree, I also struggle with how the pieces of our personal lives fit together with the overarching structures of power in the world. How do our individual actions create big systems, and how can they challenge them? How do we think about right livelihood and our responsibilities to the world? For twenty years earlier in life, I was an RN and certified nurse midwife, and I retain a passion for public health issues, which was fed by my experience working for an aid agency overseas in Azerbaijan. Public health, too, is a field that links the biggest and smallest scale, connecting an individual's health with the politics and economics and culture that create the health of an entire community. At least as important as all these issues is the burning question of how we think deep thoughts and still revel in the joy of many moments. I mean, I love playing with my cat and loud music and fireworks, and being a mummer in the annual New Year's parade in my hometown of Philadelphia, too. And I love Goddard and working with students. My experiences with a wide variety of educational models, both living and learning with my eleven year old daughter (who has never been to school) and in teaching in different colleges and universities, have taken me ever further from the conventions of 'teaching', and left me cherishing this place. Here, at Goddard, students truly engaged with the wider world use their skills and energy to make change, both personal and social, and I am excited to be able to have a part in that.
PhD in World Environmental History, Temple University; BA in Sociology, Temple University; AAS in Nursing, Community College of Philadelphia; Certificate in Midwifery, University of Medicine and Dentistry of New Jersey.
Francis Xavier Charet
Residency Sites: Plainfield, VT
Like many who grew up in the ‘60s and ‘70s, I experienced the shift from an understanding of life based on traditional values to one more directly related to personal experience. This shift turned me into a spiritual vagabond and led me on a number of outer and inner journeys from Western spirituality to ashrams in India to Jungian psychology and to Goddard. Along the way I acquired experience and academic skills that have given me some of the tools for a meaningful reading of the spiritual and cultural systems of the planet. I am interested in any and all religions, spirituality, contemplative practices, dreams, Jungian psychology, consciousness studies and social justice and I love working in education because it is a way of being able to keep my status as a perpetual student.
As an itinerant academic I have taught in a number of universities and colleges and have given a variety of courses, seminars and workshops, most concerned with the spiritual traditions of the planet, and/or the depth psychological traditions, with an admixture of philosophy. My own orientation in my work as a teacher is to create the right balance between the textual, descriptive, and the experiential. I am also concerned with how the subjects we study relate to our own interiority and to the communities within which we live and work. Those of us who have been privileged with an academic formation have a responsibility to air questions about such matters with our students and colleagues. It also seems to me that the curriculum of Goddard reflects these same concerns.
In recent years, I have been involved in developing and currently co-ordinate the Consciousness Studies concentration in the IMA Program. This concentration brings together a number of fields including neuroscience, philosophy of mind, social science, religious studies, Jungian and transpersonal psychology and the arts to focus on the study of consciousness and the development of an engaged practice. I consider this an exciting area of study and practice of considerable importance to both the individual and the future of our planet and I am honored to have the opportunity to be part of it at Goddard.
PhD in Psychology and Religion, Ottawa University; MA in Religious Studies, McGill University. BA in Religious Studies, McGill University.
Residency Sites: Plainfield, VT
I believe that artwork is work and the art-worker a laborer who gives value to substance. The work that the artist does in the world to expand the vocabulary of human expression, to offer access to the unfamiliar and ambiguous is necessary and requires diligence and courage as well as passion. In my own work as a composer and collaborative artist, I am preoccupied with two aspects of music: its capacity to reconstruct meaning by placing sounds of social and emotive significance into the abstract order of acoustics and harmonic logic; and the unique social activity that is music-making.
I am transfixed by the metamorphosis that occurs when an assortment of airwaves transforms through some alchemy of physics, logic, and social conditioning into a conduit of expressive meaning. Understanding the intricacies behind expressive force is like understanding the precise chemical processes that give an organism life. The key difference, however, lies in the fact that art is human; its life-force is our experience, and its evolution our responsibility.
My understanding of music as collective interaction comes from performing jazz, experimental rock, political bluegrass, and avant-garde chamber music. The idea that composition is organized activity, not merely organized sound, has led me to study the relationships between musical content and political intent, and to pursue collaborative work and performance art, organizing action in other media and learning from other artists. In making music, I set out to immerse a listener in something unfamiliar while suggesting some possible relationships and posing questions that I really don't know the answers to. This is also my approach to teaching.
I don't think that aesthetic judgment can be dictated (though aesthetic dictatorships seem to abound). Instead, I find that it develops every time one encounters something new with interest and curiosity. I therefore hope to engage students in a dialogue where I can point them toward ideas that are unfamiliar to them, observe and ask questions, and be there to discuss their concerns and challenge their assumptions as we pursue this important labor together.
Along with all aspects of music, from Renaissance counterpoint to gender in hip-hop, my academic interests include Aesthetic Theory, Moral Philosophy, Political Art, Film and Media Art, Theatre and Performance Art, and 20th Century Russian Literature. I am also secretary of the Open Music Foundation, a non-profit organization that supports graphic and experimental approaches to musical notation and communication.
PhD in Music Composition, University at Buffalo (SUNY); BMus in Music Composition, Northwestern University; BA in Philosophy, Northwestern University.
A dancer and full-time faculty member at the Chicago High School for the Arts, Reggie Harris is focused his studies on the psychological impacts of creating art.
At Goddard you design a study plan each semester, keeping in mind what your life is like. I just do a little bit every day. I treat it like a part-time job. I map it out each week. Some weeks might be a little less busy, so I can squeeze in a little more schoolwork. The flexibility is there.
The residency period is really exciting and interesting. You have the campus experience in one intensive week when you can really focus on your curriculum. But it’s also a quiet meditative time to reflect and reassess, and it’s a time when you can bounce ideas off your peers and advisors. So it’s a period of high creativity.
You develop your study plan during the residency. It’s a brief outline, and it’s flexible; it’s a reference point, a place to start. You submit it to your advisor for approval and then you both use it as a guide during your course of study.
I submitted a packet every three weeks for my program. A packet can be anything: papers, artwork, photography, an annotated bibliography. I structured my study plan loosely, allowing my research to go into the specifics. As you read more, your plan changes; you keep working with your advisor to weave it all together.
Residency Sites: Plainfield, VT
I have just published an erotic novel, Milk, as well as a memoir, Easter Everywhere. These two topics, sex and religion have always fascinated me and continue to be themes in my work. My most recent novel, Jesus Saves, was a New York Times Notable, as was my first novel Up Through the Water. Suicide Blonde was translated into seven languages. I have written extensively for magazines, including Spin, Art Forum, George, The London Guardian Magazine, Mirabella, and The Village Voice. Currently, I teach in the graduate program of both Columbia University and the New School in New York City. In teaching I focus on close readings of master stories to help students work though problems in their narratives. I’m also interested on a prose level in matters of word choice and clarity. But best of all I teach risk and try to help students find their own particular window ledge to jump off from.
MFA in Fiction Writing, University of Virginia; BA in English, Goucher College.
I would describe my Goddard journey as a watershed experience. There is no one event or moment which defined it as such. Instead, a constellation, or perhaps better stated, a tapestry of people, events, and academic opportunities and pursuits, progressively “grew” this adult learner. That growth was dynamic and multi-tiered. It was saturated with intellectual, interpersonal, cultural, psychological, and rich subject specific exposure.
My departure from Goddard College was bittersweet. I knew I would miss my Goddard family. However, confident in my professional competence, academic mentoring, and scholastic preparation, I embarked upon further study at the doctoral level. My acceptance in a doctoral program is a testament to Goddard’s staff and leadership, but especially to the Master of Psychology Program. While my questions were answered with patience and precision, the bar was perpetually lifted. I marveled at the encouragement and advice that lifted my own expectations of myself as I cleared each hurdle.
I entered Goddard with an overcast question: Can I do this? I left with a bright and promising answer: I can do all that and then some.
Porschia Librecht Baker
Residency Sites: Port Townsend, WA
Porschia Librecht Baker is an interdisciplinary artist writing an existence in her own vision. Baker's poetry is included in the book CHORUS: A Literary Mixtape. Currently, she is working on completing her full-length play. She is based in Los Angeles, CA.
Artist's Statement: Self-sovereignty is an option with which I thrive and build upon to create an existence in my own vision. I reclaim my birthright to build alternate realities inherent with deeply rich complexities. Central to creating is a malleable livelihood that allows for questions and transmutations so that I remain faithful to naming nations within, faithful to what resonates, faithful to my truth. This is my medicine. I invest in reshaping boundaries while acknowledging the potential limitations in their constructs. I work with the variations of what I know and harp my perspectives of existence. I aim to be communally inclusive so the works' words seep mantra-like with their stories' universality. I maneuver with an assemblage of personal, researched and witnessed cargo. My sensibilities reach from the pit of my desires where what appears to bone black bones is a nourishing container for herstories that arrived before as well as those yet to be midwifed to their breath. These aspects I share are leaves summoning branches rooted in servicing what I believe. This is my self-ordained privilege and a threshold I remember, comeback to, and journey through in order to arrive invoking actuality; a practice of summoning my whole self. With offerings of the celebrations, challenges, teachings, and growths I've been continuously gifted, I return to open space for healing.
MFA in Interdisciplinary Arts, Goddard College.
Residency Sites: Port Townsend, WA
My name “Lyubov” means “Love” in Russian. Indeed, I have a plethora of love in my life. I love my little family. I love this universe. I love my past, present, and future students; my professional goal and mission is to help them stretch their wings. I love poetry, science, and the arts. I am fascinated by the possibilities of their integration. I love Rust. I do not have any rational explanations as to why I am so attracted to this phenomenon—rusting. A melancholic beauty, perhaps? I make “Rusty” photography and “Rusty” art; I write “Rusty” poems.
I grew up in Latvia, in the suburbs of Riga. An eclectic mixture of Russian and Scandinavian blood boils within me. I worked at colleges and universities of Russia, Canada, and the U.S.A. Throughout twenty years of pedagogical experience, I taught chemistry, physical science, environmental science, teacher education courses, philosophy, psychology, multiculturalism, video ethnography, and fine arts across the curriculum. Besides teaching, I published poetry and worked as an educational TV host and producer.
I am honored to be a part of such a progressive school as Goddard. I am happy to both advise and simultaneously grow with students who are interested in the following areas:
Integration of science, poetry, and the arts; human development theories, global studies/multiculturalism/transcultural communications and experiments; environmental studies/ sustainability/ deep ecology; philosophy of new science (quantum theory, chaos and complexity, super-strings (M-theory); postmodernism; radical pedagogy; holistic education; educational psychology; cognition and consciousness studies; video ethnography; system thinking and organizational theory; Russian culture and philosophical thought; transpersonal psychology/psychosynthesis; mental and embodied imagery/imagination and its educational applications, physiology, psychology, and philosophy; theories of creativity, new cosmology and metaphysics; on-line communities; the state-of-the-art media.
I practice a postmodern, self-organizational pedagogical approach that values dialogue, imagination, improvisation, freedom within flexible boundaries, subject integration, and a variety of modes of expression. I am inspired by non-orthodoxies, novelties, and pushed limits. I am attracted to the edge of creative chaos, where entangled and whispering possibilities are waiting for their chance to emerge.
PhD in Curriculum and Instruction, University of British Columbia; MSc in Chemical Education, Middle Tennessee State University; BSc in Chemistry, Minor in Physics, Ural State University, Russia; BA in TV Production, Russian College of Arts.
Larry Yurdin (BA RUP '67) graduated from Goddard College in 1967 and returned in 1969 as a faculty member. He then organized the 1970 Alternative Media Conference, held June 17-20, 1970, with Goddard students as part of a hands-on course centered on alternative and underground media. (photo at right: Larry Yurdin at the 1970 Alternative Media Conference at Goddard College).
Following his time at Goddard, Yurdin was the manager of Pacifica Radio in Houston, the News Director of KMET in LA, and was a major contributor at many other radio stations. He has a long history in radio, digital media and communications and was an innovative pioneer in the groundbreaking fields of free-form and progressive radio.
Yurdin came back to the Plainfield campus on May 18, 2013 to attend the 2013 Alternative Media Conference, and presented a history and slideshow about the original conference. See the video below!
Residency Sites: Plainfield, VT
I am both a writer and a "recovering academic"—in fact, I have a hard time separating the two. A book that I read as a graduate student at Brown University called The Politics of Literature blew the top of my head off and nothing has been the same since. After designing and teaching one of the first ever Women's Studies courses at Brown, I took a leave of absence and set off for the Women's Writers Center in Cazenovia NY. Several years later I went on to found Trivia: A Journal of Ideas, a radical feminist literary and political magazine, which I edited for nine years.
I resonate strongly to the word "radical"—I like getting to the root of things, both in myself and in the world—and I like to see radical change! Writing I came to see was a way to change things from the bottom up. "If one woman told the story of her life, the world would split open," Muriel Releaser wrote, and I wanted to be there when it happened. As a teacher and editor, I’ve worked with writers in a wide range of forms, from critical and personal essays to fiction, plays, and experimental writing. My specialty is helping break writers out of the academic mold, a form of self-censorship with which I have special sympathy.
I moved to Montreal in 1990, in large part because of the experimental writing scene here. These many years later I am still in love with this city—for its mix of cultures and languages, its proximity to wilderness, and its cafes and restaurants in which until recently smoking was still allowed.
I am a published writer of short fiction, essays, reviews, and translations, and am also an obsessive chronicler of my dreams, which tend to prove an invaluable source of information, about the world and myself. I’m currently at work on a book of creative nonfiction titled In Search of Pure Lust. As a reader, I am most powerfully drawn to what I call the literature of extremity, especially writing by lesbians and women of color and native peoples all over the world, those who know what the stakes are and tell it like it is; I am excited by all forms of theory about such literature. Lately I find myself thinking and reading a lot about our relationship with the non-human world, which is going to have to change radically if we’re to have a liveable future. It seems to me that any kind of serious thought in this historical moment has to take into account the accelerating threat to our ecosystems posed by human stupidity and greed.
Since 1986 I've been a practitioner of Zen and Vipassana meditation and increasingly have come to see spiritual practice as a site of radical change, both personal and political. Thich Nhat Hanh's teachings have been a big influence in this respect; I'm also interested in the ways that women's entry into Buddhist practice in the West has begun to alter the tradition. I've practiced Yang style T'ai Chi for fifteen years and am presently doing so with an exacting Chinese master in Montreal. I bring the knowledge I’ve gained from these body disciplines—which I value as highly as any I’ve gained from books—to Goddard’s new focus area in Embodiment Studies, which has served as a container some truly groundbreaking and compelling student work.
Though a long time critic of traditional education, I also value many of the tools I came by as a product of it. I believe that the more radical our ideas and impulses are, the more firmly they need to be grounded in rigorous and disciplined thinking. Some of the student projects I've overseen are: a feminist critique of American medicine, a memoir of a woman's life lived in conscious communion with animals and the earth, a creative ethnography of Abenaki Indians, a study of lesbian writers and the politics of language, a fictional retelling of the life of Mary Magdalen, and a Vietnam war novel. Though I am unable to identify any trend here, what I can say is that, like so much of the best writing coming out of the U.S. and Canada just now, my students' work tends to be on some level about healing--whether from incest, from anorexia, from cancer, from self hatred, or more generally, from any of the forms of fragmentation to which we are heir in this culture. As I see it, all my students are trying in their own way to piece themselves and the world back together again--and this is work that I feel honored to be a part of.
PhD in Comparative Literature, Brown University; MA in Comparative Literature, Brown University; BA in Comparative Literature, Cornell University.
Admissions Publisher, Staff
Residency Sites: Plainfield, VT
I’m primarily a maker of narratives—some are used in artists’ books, some become theatrical performances, some find their ways into short stories or puppet/object pieces. Often I find my ideas in history or true event, I don’t make documentaries though—I find myself more interested in an imaginative re-construction of events that examines the emotional relevance of the story. I am always engaged, whatever the medium, in the process of writing text that has the particular quality of being able to be heard.
I also write about architecture and design. I co-authored the national bestseller The Not So Big House, and have also published two other books, including one about cool American garages. My non-fiction writing is always intersecting with my creative work, even in the most esoteric of ways. How is a story like a building? How does style begin to affect structure? (I’m very interested in structure and form and how it can mirror and support subject matter.)
Recently, I’ve helped found a consortium of artists called The Gymnasium, who work collaboratively on both performative and public art works. A new Gymnasium piece, called Force/Matter, combines movement, sculpture, and spoken text to examine how the classical laws of physics can intersect with family dynamics.
Other new work includes Raskol (Ten Thousand Things Theatre, will be produced spring 2009), which has an improvisational jazz score by the Fantastic Merlins. A commissioned object theatre piece will premiere in Philadelphia the fall of 2009 funded by the Pew Theatre Initiative. My short story, “Snow Man,” is being adapted by Open Eye Figure Theatre into a puppet play. Other creative work includes a novel about a hummingbird collector and a screenplay about a man obsessed with footprints.
I view teaching and the opportunity to mentor at Goddard as a form of artistic conversation. I look forward to good conversations that will stretch me as a teacher and as an artist.
MFA in Fiction, Warren Wilson Program for Writers; BA in English and Studio Arts, Williams College.
Residency Sites: Port Townsend, WA
This morning began with the careful placement of the last supporting “brick” on our 8-year old’s couch cushion fort and a conversation with my partner about the ingenious way our 15-year old has gotten around one of our few restrictions. Now I make the shift from home-work to "professional" work. It's a subtle shift-- as I don't "go to the office"-- across a distinct, yet movable boundary, like the boundary I navigate between art and life.
Art is very much a way of making connection. I believe art serves a fundamental human need. ART IS FOOD, as the “Why cheap art?” manifesto of the Bread and Puppet proclaims. The mundane work of every day life, the dailiness of human existence serves as the ground of my creative process. Making art helps me make connections between spiritual insight, political activism and scrubbing jam off the kitchen floor. “Chop wood, carry water,” my dad used to say when I was a child. Later in life I learned that these words reminded the Zen Buddhist novice that spiritual enlightenment does not reign above the fray of everyday life but in fact comes to us in the here and now, through finding joy in everyday tasks.
I began making films and videos about 20 years ago, working in experimental narrative and then on documentaries for public television. A year of working on a documentary produced by HBO taught me a lot about the ethics of representation, and also convinced me I had strayed from my path. I returned to graduate school to reinvent myself, just as I discovered I was pregnant. So the reinvention of myself as an artist coincided with the reinvention of myself as a mother.
My practice has included storytelling, installation art, papermaking, drawing, knitting and sewing. Making art for me is about improvising new dynamic relationships between meaning and material, personal and political, spiritual and corporeal, fantastical and mundane, individual and community. My current influences come from individuals of diverse practices; storytellers Amina Blackwood-Meeks and Joel Ben Izzy, freeform knitting designer, Debbie New, installation artists Annette Messager and Tim Hawkinson, and scholar Ellen Dissanayake and map-maker Doug Aberley.
Story offers a way to reveal and to embrace contradiction, the contradictions of a culture that lauds traditional family values yet restricts how we love one another; a culture that raises motherhood on a pedestal yet tolerates daily violence against women; a culture that simultaneously perpetuates a fascination with the “other” while obsessed with securing its borders.
One recurring theme in my work is the story of navigating through culture and identity. As an immigrant who exchanged Taiwanese citizenship for U.S. citizenship over 25 years ago, even my own extended family view me as an outsider. Raised in the United States, I can no longer fluently communicate with our Taiwanese-speaking relatives. Yet my immediate family sustains a kind of weak link with those across the ocean. The word, “family”, conjures up contradictory feelings of love, longing and grief. I strive to make cultural barriers more fluid and make art in sympathy with all border-crossers. The border that hangs tenuously between art and life also becomes more flexible in my work as my stories weave between oral history and fantasy, sharing authorship with participatory audiences. I stage interactive experiences, keeping alive a commitment to making art more accessible and integrated with daily life.
Just prior to my most recent move, I was told of an ordinance still in the books that stated, “No persons of Chinese descent m ay purchase this house.” The words provoked a deep interest in the question of how a neighborhood identity comes into being. Who has the power and privilege to make a neighborhood what it is? My current project, Neighbor to Neighbor, uses oral history and community engagement to forge a collective answer to this question.
Technology is another theme or preoccupation that I dance around. An older project utilizes hand-knitting to construct pseudo-mechanical dolls fashioned after the Teletubbies. “Functional Obsolescence” reflects the ambivalent relationship I have with “new technologies.” Ever since I decided to put my Bell and Howell 16mm camera in the closet and replace it with the more cost efficient video camera, my artwork has become increasingly dependent on new technologies. I am both enthralled by new technology and yet wary of how we so easily overrate its capabilities. As I incorporate new technologies in my work, I reach back with equal enthusiasm to revive archaic technologies. The Teletubbies I made used a technology associated with grannies—knitting—to create warm shells in which to house their cold, electronic bodies. These cyborg creatures embody our culture’s ambivalence about technology, our deepening dependence on technology and our fear of its dominance and need to subdue that fear. The knitted dolls appear both cuddly and menacing, expressing the tension between desire and fear that drives much of science fiction. The dolls disguise surveillance cameras, and the TV’s in their bellies display video collages of reproductive technology in science fiction movies.
Collaboration figures prominently into my teaching. The best way to describe my teaching would be “team-learning”; I guide advisees as a co-learner. I believe the greatest gift I can give to a student is help in discovering her or his own best ways to learn. I’m very big on understanding learning styles and learning differences. I have high expectations as a teacher, but ultimately I feel most successful when a student becomes her or his own demanding teacher.
I live in North Providence, Rhode Island, where my art practice is helping me nurture a sense of place in a region to which I still feel like a foreigner. I teach children how to knit and tell stories, mentor high school students in their creative pursuits, and serve on several boards to advocate for arts education.
MFA in Intermedia, University of Iowa; BA in Comparative Literature, Indiana. University.
Residency Sites: Plainfield, VT
I am a writer and visual artist based in Chicago. I work in poetry, prose, essay, and fiction, and my books usually include images. I got my start as a writer in New York City, and the dedication of the experimental writing communities there made me a literary citizen for life and inspired me to start my own chapbook press called Sona Books. Now, in my new city, I am thrilled by the presence of so many grassroots arts organizations and by Chicago’s accessible excellence in art and literature.
For several years I was an academic advisor in a worker education program, and I got my start in teaching and writing at a community-based literacy program in Brooklyn where we, as teachers, believed that “to teach it you have to do it.” My interest in writing came from my involvement in that community of teachers and learners intent on writing down their stories.
I enjoy encouraging learners to access alternative sense-making spaces within language—spaces outside of traditional logic, explanation, and linearity. This idea of language probably comes from one of my first language memories of listening to my loved ones carry on in their home language, Estonian, and though nothing was translated for me, I loved hearing their sounds and being a witness to that intimate encounter created by language itself. So I delight in those workshop and classroom moments when we encounter a combination of words that puzzles all of us, but also makes more sense than we could have ever imagined. My approach to facilitating writing is to encourage experimentation and to fashion a space that is both challenging and supportive.
In the early '90s I first read Paolo Freire’s Pedagogy of the Oppressed and knew that I wanted to teach. I respect and cherish the community that is created when learners gather—it’s invigorating and inspires me continually. My creative and intellectual interests hover around hybrid texts—works that blur boundaries between fiction, poetry, the essay, visual poetry, and image; the politics of inscription and traditions of resistance to inscription; social memory and landscaped sites of memory; critical race theory and African-American literature; documentary art practices; eco-poetical concerns and the North American nature writing tradition; working people’s art expressions; gender and writing; and postcolonial theory.
Though I do not have advanced degrees in the visual arts and social sciences, I’ve taken graduate-level anthropology and sociology courses at the New School for Social Research, as well as drawing, painting, and sculpture classes at School of the Visual Arts and The City College.
MFA in Creative Writing, Goddard College; MA in English, The City College of the City University of New York; BA in Sociology, University of Maryland at College Park.
A media educator and consultant, Cara says her Goddard education helped inspire her to establish Press Pass TV, a nonprofit organization based in Boston.
The reason I worked so hard at Goddard was because of the group of students I was in the program with. We joked that Goddard was our "eight-day family." We had these eight-day-residencies, and we built incredibly strong, close bonds. They were bonds that allowed us to peel back layers of ourselves and define who we really wanted to be. We had advisors who'd say, "Have you considered this? How about that?"
I knew I wanted to work with young people and media: I didn't know exactly what that was going to look like. The model for what I'm doing now--inspiring middle schoolers to create TV news segments that promote media engagement while tackling issues of social justice--took shape during my time at Goddard. I'm still in contact with the people from my program, too. Several of us are working in arts and social change, and we'll ask each other's opinions when we're doing similar things.
Goddard built me a community to learn in. Looking back, I think that was the college's greatest contribution to my life.
Kristal C. Owens
In the mid 1980s, I became a student of Dr. Howard Thurman's writings and concepts that, then, influenced my search for personhood and spirituality. The areas of spirituality, meditation, gender and racial concerns, and nutrition have become central to my personal and professional life. I have studied holistic health, martial arts, Reiki, and other healing arts. I have an interest in African psychology, womanist theories, substance abuse, family and group therapy, ethics, holistic approaches, sports psychology, pastoral care and counseling, therapeutic rites of passage, social psychology and cultural competency.
I work as a Project Director with Family and Medical Counseling Service, Inc. in Washington, DC. This program is a Comprehensive HIV/AIDS Prevention Education Program called Project Ujima (Collective Work and Responsibility). My program provides counseling and testing, resident and staff training and discharge planning for the D.C. Department of Corrections and Corporation of America/Central Treatment Facility. I am a consultant with the Progressive Life Center where I teach the NTU Psychotherapy Course: an African-centered approach to service delivery. Currently, I am a Ph.D. student in the psychology program at the Southern California University for Professional Studies.
DMin in Pastoral Care and Counseling, Howard University; MDiv in Pastoral Care, Virginia Union University; BA in Religion and Philosophy, Virginia Union University.
Douglas A. Martin
Residency Sites: Plainfield, VT
After publishing two collections of poetry with an extremely small press in my twenties, I moved to New York in 1998 to pursue a career in fiction writing, though never completely abandoning my interests in autobiographical investigation, lyricism, experimentation, and class. I am interested in what it means to knowingly engage with and embrace influence; fictional forms that hold space for pleasure and complexity, troubling and teasing easy realism, making meaning in new or counter logics, those move me most. It's this I work hard at in fiction. In teaching I focus on an open exchange and sharing of ideas, a critical empowering through prompting self-questioning and examining what place writing might really hold in one's life, an emphasis on work habits, and constructive critiques that do not rely on oft repeated formulas but seek to accept and explore each students' work on their own terms towards their own goals. To this end, I believe in such things as mutual respect and mutual exploration, a rigorous attention to detail and consideration of formal implications: I want students to begin to think about not just word choice but why books are received the way they are.
In 2000, I published my first novel, Outline of My Lover, with the then budding Soft Skull Press, while completing my MFA in fiction. This novel was subsequently published by Picador UK, adapted by the Ballet Frankfurt for their multimedia production Kammer/Kammer, and named an International Book of the Year in the Times Literary Supplement. I was nominated for the American Library Association's GLBT Book Award and a finalist for a Lambda Literary Award, and I drove myself across the United States in support of this book, reading far and wide. In 2005, I published a novel of biographical fiction, Branwell: A Novel of the Bronte Brother (Soft Skull), finalist for a Ferro-Grumely Award, and a book of autobiographically linked stories, They Change the Subject (University of Wisconsin), named one of top ten books of the year in the San Francisco Bay Times and including "An Escort," finalist for a Pushcart Prize. In 2008, I published a collection of poetry, In the Time of Assignments (Soft Skull), and a cross-genre work, Your Body Figured (Nightboat Books). My most recent book is a novel, Once You Go Back (Seven Stories).
My work has been included in the anthologies Bend, Don't Shatter: Poets on the Beginning of Desire, Slam, Dangerous Families: Queer Writing On Surviving, Best Gay Erotica (2000, 2002, 2003, Best of the Best Gay Erotica), Where the Boys Are: Urban Gay Erotica, Biting the Error: Writers Explore Narrative, and New Writing 11. I have published poetry and prose in Lit, The Dublin Review, The Literary Review, Small Spiral Notebook, Fence, Bombay Gin, Tarpaulin Sky and Nerve.com. Additionally I am a co-author of the haiku year and "Accurate Key," a boxed and letter-pressed broadside project including Alice Notley, Robert Creeley, and Eileen Myles, among others.
When She Does What She Does: Intertextual Desire and Influence in Kathy Acker's Narratives, my doctorate work was awarded the Irving Howe Prize for Best Dissertation Involving Politics and Literature.
PhD in English, CUNY Graduate Center; MFA in Writing, The New School; BA in English, University of Georgia.
Residency Sites: Plainfield, VT
Playwriting was my concentration at Goddard. I focused on plot, character development, dialogue, scene movement, and development of the dramatic arch.
The mentoring relationships between me and my faculty advisors were phenomenal. They were supportive and accessible through assignment packets, email and telephone. They encouraged my growth as a writer, introduced me to writing techniques that expanded my knowledge and enhanced my ability as a playwright and academic writer.
What I’ve gained from the residencies is a family/community of writers who share and encourage each other. The workshops at the residencies offer a wealth of exposure to learn the craft of writing in the various concentrations. At the residency students have the opportunity to read their work at student readings, and listen to faculty, as well as visiting writers, read their work. Other benefits are the workshops given by visiting writers. These are wonderful to attend and learn from professionals who are open to sharing their experiences.
My overall experience with Goddard is rewarding, because of the growth I’ve made as a writer and person. I have made lasting friendships during the residencies. The experience at Goddard is one of transformations. I entered Goddard with some confidence in my skills as a writer, and graduated with absolute confidence in my ability to be a professional writer.
Residency Sites: Port Townsend, WA
I am deeply interested in the experience of cultivating a conversation between the seen and the unseen, of noticing in and noticing out. This integration of the spiritual, the physical, the emotional and the intellectual is what characterizes my life and my teaching. As an interdisciplinary artist I am happiest working with the same questions for many months, or even years, to ripen my understanding and intimacy with different themes or problems.
My curiosity is ignited by blending, seemingly, unrelated disciplines in an investigation and I love to work with students in this way. I love helping students find links between their areas of passion and new questions. My own education has journeyed through many different disciplines – engineering, business administration, sociology, environmental studies, dance and visual art.
From this smorgasbord of learning experiences I have developed a broad range of learning approaches. I was not always a successful student so I have first hand experience with the challenges of fitting into a learning environment. I strongly believe that effective learning has to allow space for personal reflection. This kind of reflection might look, to some, like wasted time. But I believe that we need to develop a stomach for this and to recognize the difference between being idle and being lazy.
As a long time meditator and practitioner of Tibetan Buddhism I am interested in how techniques of self-reflection can be woven into rigorous academic study. You can see an example of how I have been using this kind of self reflection in my own learning journey at this link. I came to artmaking relatively late in my career and I have a soft spot for working with students who are just beginning to open to this kind of creative process. In recent years my areas of research include the production and consumption of food, cultural dimensions of obesity, contemplative approaches to study, and the power of consumers in Western economies.
I love to be active and am fortunate enough to live by the ocean in Nova Scotia, where I can hike along the rocky coast with my doggie every day. To see examples of my visual artwork please visit my website: www.annieabdalla.com
MFA in Interdisciplinary Arts, Goddard College; MES in Environmental Studies, York University; BA in Sociology, York University.
Andrea Leebron-Clay is currently vice-president and partner in Regency Pacific, Inc., which provides senior residential services in Washington, Oregon, Idaho, California and Hawaii. Trained as a Gerontological Nurse Specialist with additional credentials in physical rehabilitation, Ms. Clay has teamed with her husband, James, to focus Regency Pacific’s corporate culture on the maximization of human potential, whether for residents or employees. She has implemented innovative programs focused on physical and cognitive rehabilitation including participation with the National Institutes of Health in programs for prevention and treatment of incontinence. Projects recognized by the National League for Nursing include rapid physical assessment strategies and nursing algorhythms for accelerated rehabilitation of common geriatric diagnoses.
Leebron-Clay received an MFA in Creative Writing in 2002 and an MA in Sustainable Business & Communities in 2009 from Goddard College.
Philanthropic activities include board memberships for Sustainable Connections, a local organization that serves as a national model for sustainable local living economies and Project Education, an NGO co-founded by Leebron-Clay to foster sustainable communities and education in Kenya. The Clay Foundation and ClayforEarth are vehicles which also provide consulting and support for a wide variety of both animal welfare and sustainable development projects. When not otherwise engaged, Ms. Leebron-Clay creates documentaries to advance not-for-profit organizations.
The Clays have seven living children, ten grandchildren, and four very spoiled dogs that share space with the ever-present orphaned cats.
Suzanne Forsyth is nationally known in the field of human resources and organizational development. She is a consultant, lecturer, and writer on workplace issues. She is widely recognized for significant contributions to human resources and higher education as well as women’s programs. She has served as President and Treasurer of the National Association for Women in Education; received the professional of the year award from the Human Resources Association of the National Capital Area (HRA-NCA); and served on the national advisory board of Teachers Insurance and Annuity Association (TIAA-CREF). She was featured in a book on outstanding human resources executives published by the College and University Professional Association for Human Resources. She is Past President of the Human Resources Association of the National Capital Area, and serves on HRA-NCA’s Past Presidents Council.
During her tenure at the American Council on Education, she served as Executive Secretary of the Washington Higher Education Secretariat. She developed a comprehensive health insurance program for the higher education associations under a Multiple Employer Trust. She developed and led an innovative human resources program with major accomplishments in areas of compensation, affirmative action, professional development, diversity initiatives and organizational development. She served on the President’s leadership team for 17 years and made many speeches and presentations as part of the ACE Speaker’s Bureau. She developed a community outreach program for the National Center for Higher Education that was recognized by the Points of Light Foundation.
She has spoken before audiences such as the Society for Human Resource Management, the American Council on Education, the College and University Personnel Association, American Management Association, The Independent Sector, the American Society of Association Executives, the Association of College Unions International, National Association of College and University Business Officers, the Association of Jesuit Colleges and Universities.
Ms. Forsyth’s consulting practice is in the areas of organizational planning, retreat facilitation, human resources program assessment and development, change management, compensation strategies, executive search and consultation, workplace communications, professional development programs, executive coaching, Myers Briggs Type Indicator (MBTI) training, outplacement counseling, and quality of workplace studies.
Ms. Forsyth served as Lay Leader at Foundry United Methodist Church and as Chair of the Church Council. She led the church through a comprehensive strategic planning initiative. She has served on the Board of Martha’s Table, a nonprofit organization serving the city’s homeless and poor. She was a trustee at Goddard College and has served on the board of the Elsie Whitlow Stokes Community Freedom Public Charter School. She is currently a member of the Board of the Community Council for the Homeless at Friendship Place and a member of the President’s Advisory Council at Wesley Theological Seminary.
At Metropolitan Memorial United Methodist Church she is a member of the Staff Parish Relations Committee, the Visioning Team and the Advocacy Team, and is currently Lay Leader. She has served on the board of Palisades Village, an aging in place initiative for residents of Foxhall and Palisades in northwest Washington, DC.
From 1995 to 1999 she was adjunct faculty at The American University.
Her clients include Howard University, Ithaca College, Berklee College of Music, Eastern Michigan University, Cleveland State University, National Trust for Historic Preservation, American Council on Education, American Association of State Colleges and Universities, The Council of Graduate Schools, the Association of Jesuit Colleges and Universities, the Association of American Medical Colleges, National Association of College and University Attorneys, Howard Community College, Academic Search Consultation Service, St. John’s Church, Lafayette Square. Public Education Network, Maryland Independent College and University Association, University of Montana, Wilson College, National Association of College and University Business Officers, Rollins College, Federal Trade Commission, National Research Council, Investment Company Institute, Jewish Social Services Agency, Berea College, Council on Social Work Education, Pace University, Texas Christian University, Villa Julie College, College of Southern Maryland, Ocean Technology Foundation, Washington Center for Psychoanalysis, Gallaudet University; Association of Governing Boards of Colleges and Universities, St. Timothy’s School, Ohio University, Miami University of Ohio, American Political Science Association, Plan USA, Goddard College, Washington Tennis Association
Assignments include organization assessments and redesign at Cleveland State, Howard and Eastern Michigan Universities. She developed a cohort professional development program for administrators at Ithaca College. She has assisted the provosts at both Ithaca College and Rollins College with strategic planning efforts. She has done organizational assessments for many of her clients; she assisted Texas Christian University with the development of a strategic approach to compensation. She currently provides Gallaudet University with a cohort professional development program for managers. Recently, she conducted a quality of work life study for the College of Southern Maryland. She has served as faculty, AJCU Leadership Institute.
SPHR – Society for Human Resource Management
Diversity Trainer – Society for Human Resources Management
MBTI Trainer – CAPT
Executive Assessments – Center for Creative Leadership, including BENCHMARKS 360 degree assessment
President, Suzanne Forsyth Associates 2000 Present
Vice President, Kaludis Consulting Group 1997 - 2000
Director, Human Resources, American Council on Education 1973 - 1997
Associate Dean of Students, Georgetown University 1970 - 1973
BS, Psychology, CCNY, Graduate Study in business, NYU
Georgetown University – Present, candidate for Master’s degree in Liberal Studies
John Christian Sevcik
Residency Sites: Port Townsend, WA
Photo credit: Angie Whidden.
John Christian, or as his friends know him, JC, organizes Lit.mustest, a Goddard student reading series in Seattle, WA, along with fellow students Chelsea Werner-Jatzke and Marty Stegner.
During his time at Goddard, JC has worked as a genre editor on the Pitkin Review. He has also served on Goddard's student council for two semesters, acting as co-chair for one.
He lives in Seattle, Washington.
Says JC about Goddard College: "Goddard is one of those rare places that makes it easy for you to be the best version of yourself. This is in no small part thanks to the amazing staff and faculty, the strong sense of community, and the school's incredibly progressive educational model and philosophy. But really? It's the people. More than anywhere else I've been, here you will find people giving the very best of themselves--personally, professionally, creatively--students, faculty, and staff alike--which can't help but encourage the same."
BA in Writing, Literature, and Publishing from Emerson College; AS in Recording Engineering from Full Sail University.
S. B Sowbel
Residency Sites: Plainfield, VT
Do call me Sowbel (rhymes with global), those who know me well do, and I expect after working together, we will indeed know each other well. If the spelling trips you up a bit, think in terms of “sowing wild oats”.
Not long ago, at a seminar run by one of my mentors, we were asked to introduce ourselves by sharing what we believed our work in the world to be—not our jobs mind you, not what our paychecks said was worthy activity, but what we believed we could and hoped to contribute to whatever we defined as the world. I loved this activity because we each pondered, then shared our deepest desires and visions for ourselves and our various communities.
My work is engaging, supporting, facilitating, motivating, challenging and sharing in the uncovering of new ideas, new capacities, new ways of perceiving, hidden fears, unexpected delights, and the fortitude for finding one’s way and one’s work in the world. The primary templates or archetypes that guide my actions are those of the artist, the thinker and the teacher but I believe the relational element of learning together also invokes the template of the traveler. And I love to travel (literally and metaphorically)—joining another’s jaunt into some unusual place of study can be as exciting as hopping a train to a new country.
Some of my “countries” of study and practice include: empathy, emotions, moral development, attachment theory, adult learning—theory and practice, learning styles, addictions, the function of fear in learning, HIV/AIDS, complementary and alternative healing practices (eye movement desensitization and reprocessing, sound, herbs, shamanic traditions, visualization, metaphor, rhythm, guided imagery and music), public health (promotion, prevention, social marketing), psychology and counseling (individual and group), human services, conflict and mediation, , the psychology of dreaming, the construct of difference and the other, group facilitation, stress reduction, metaphor, tolerating paradox, women’s psychology, women’s health, humor, creativity and the senses, expressive arts, poetry, printmaking, painting, and drawing. Facilitating your work in any aspect of one of these “countries” or a combination of several would be a delight.
Some other “places” that might serve as locations for your inquiries, that I love and continue to visit but know in a bit less detail, include: social cognitive neuroscience, group relations, diversity and authority, post-partum depression and psychosis, gender, sex ed, pre and post-verbal trauma, empirical aesthetics, kundalini yoga, siddha yoga, vipassana meditation, house building (from living in a community that designed and built an octagon house and individual shelters—I favored a, kind of upside down basket woven with sweet-smelling ferns), ham radio (N2QNA), rock-hounding and lore, Esperanto (universal languages), and organic gardening. Speaking of places, I was born and spent a good portion of my life straddling the Mason-Dixon line in the diverse city of Baltimore, MD. Baltimore is the home of the world’s largest ball of string, independent film-maker John Waters, The Collegians--an all accordion band that had its own TV show, the Hubble telescope, and marvelous poets and writers such as Lucille Clifton, Adrienne Rich, and A. K. Joyce. So Baltimore, with its many ethnic neighborhoods--part small town, part urban center--is a place of great seriousness and great silliness. As a result, I come well practiced in the shifting of perspective and the dialectics of difference. To my relatives in Wallace, North Carolina, we were northerners, to friends in Nashua, New Hampshire, we were southerners, and to affluent uncles in Brazil, we were poor but, inexplicably, had a refrigerator.
These shifts in perceptions and identities with their various implications, prepared me to bridge, balance and translate seemingly incompatible, opposing or unrelated disciplines and abilities. For example, I’m wild for the sciences (neuroscience, botany, endocrinology) and the arts. I’ve worked in both domains and I let each inform the other. I’m comfortable with formal, traditional education yet have experience as a learner and facilitator in unconventional and informal learning situations. I have experience working at, and have thought about, “jobs” (the low-wage positions we often leave off our resumes) and “professions” (the salaried positions that are given social value). I was brought up in a very conservative household and have worked in some very radical fields (for their time). I believe all aspects of who we are and what we experience, even those that seem in conflict, are ripe for discoveries. I value any setting and any study that allows as many, and hopefully all, of our parts to contribute to inquiries and goals we set for ourselves.
PhD in Art and Psychology, Union Institute and University; MS in Education: Counseling Psychology and Adult Learning, Johns Hopkins University; BA in Literature and Fine Arts, College of Notre Dame.
I came to Goddard’s MFA in Creative Writing program on the cusp of middle age, dragging a lifetime of writing behind me that looked more like a junk drawer than an organized career. I had stuff everywhere. I had talent, but I didn’t have focus, because I’d never taken the time to study craft, to stop, to listen to the sound of my own heart beating. Goddard was the prism that allowed all that to happen. For two years I bent light, and felt it bend me, discovering who I was through a series of interactions with my faculty mentors and the writers and poets I forged lifelong friendships with during the residencies.
I emerged from Goddard with a creative thesis that became my first published book, the short story collection Name the Boy. I also acquired a passion for teaching, and I now teach writing--creative, composition, and research--at the Community College of Vermont. My students respond to my process-based approach, which is one of the most important things I learned at Goddard: trust the process.
I recently published my second book, a creative writing memoir/handbook called Creative Writing in the Real World: A Reader for Writers. In addition to my teaching and writing, I’m the fiction editor for Quay: A Journal of the Arts, and I continue to write and publish and spread the wonderful energy I found at Goddard.
I had a dream in my early twenties. On a college campus, a group of teachers presented me with a book. Its pages were blank. One teacher let me know I was to fill the book; my learning would come through the process of creation.
I pondered this dream for years. In midlife I considered graduate school, but was put off by many of the advertised programs. Then, when information about Goddard arrived in the mail, my dream came flooding back to me. Come to Goddard the way you are, the college told me. Leave the way you want to be.
I attended a Discover Goddard event. The thought of going back to college in my fifties was a bit daunting--when the presenters explained that each student designs their course of study within a flexible structure, I knew this was the program I was looking for.
Now the book in my dream is blank no longer. The feedback and guidance of my mentor/advisors helped me to recognize my strengths and passions--and with my fellow students, our diversity of age and background contributed to the richness of our shared enthusiasm.
I've formed personal and professional bonds at Goddard that I hope will last a lifetime. And I've developed a new career that once was just a dream.
Rachel Van Fossen
Residency Sites: Plainfield, VT
I am a polite Canadian and an unruly American--or is it the other way around? I live in Quebec and I am sometimes clumsy.
I am interested in bringing together diverse ‘truths.’ I am drawn to investigating tensions that arise from contradiction, conflict and multiple possible meanings in myself and in the collaborative worlds I inhabit. I am a ‘context-specific’ artist; I adapt forms and processes to immediate human circumstances.
I am an interdisciplinary thinker, with a disciplinary background and an established practice as an artistic director, writer, and director of theatre performance. I frequently collaborate with artists of diverse backgrounds on projects in various mediums and settings. I am drawn to work with people on photography and video projects, contemporary dance, writers’ groups, sound installation, music composition, and commissioning visual artists to create for thematically conceived performance events.
In the 1990’s, my practice shifted to participatory, collaborative, community-based performance forms. I am passionate about engaged art practices, especially those that welcome a diversity of perspectives and dare to hope they will contribute to social, personal, and political change.
I like to listen to other people.
I have learned much from working with farmers, sex trade workers, youth, seniors, politicians, lawyers, and others.
Sometimes, I talk about myself to other people. Like now. In 1993 a group of us formed Saskatchewan’s Common Weal Community Arts. I was the artistic director. I guided Common Weal's transition from primarily theatre performance to its current multi- and interdisciplinary mandate. I relocated to Montreal in 1999 to assist with curriculum design for the then-new specialization in Theatre and Development at Concordia University. I have served as the artistic director of Black Theatre Workshop (2001-2005); I am a founding member and artistic associate of the Collectif MOYO--an artist collective with a mandate to assert cultural and intercultural diversity in Montreal’s arts ecology; and I continue to teach part-time at Concordia.
Often, I talk to myself about myself. Sometimes, I listen to what I am saying to myself.
I am interested in creating various kinds of work based in oral histories, and in public, site- and context- specific performance. In my writing I seek to blur distinctions between academic and/or performative writing, and writing for performance. My work has been published in anthologies of plays, in academic journals, and in collections of essays.
My recent projects include the Rights Here! International Exchange Project in Theatre and Law for Human Rights (2007.) Currently I’m working on a more intimate piece-in-progress which involves a collaborator in performances of our own and each others’ multiple and often contradictory identities. Now and then I perform as an arts consultant and researcher, including work for the Inter-Arts and Equity Offices at the Canada Council for the Arts, and for the MAI (Montréal, arts interculturels.)
When I am not reading trashy murder mysteries, I like to read critical theory.
Integration of theory and practice is important to me. Reading about relational and dialogical aesthetics, feminist, gender, and post-colonial theory, performance studies, and books by anthropologists and neurologists, provides inspiration for creative work.
I live in Montreal. I am downwardly mobile: I inhabit the upper half of a duplex. My parents live in the lower half, because they have a harder time with stairs. I live with my partner of twenty years, and with our teenaged son, who has fairly large feet. My daughter comes to visit when she needs to do laundry, and dirty laundry often coincides with times she wants to talk to me. All of us like to harvest strawberries, basil and tomatoes from the garden.
MFA in Interdisciplinary Arts, Goddard College; BA in Drama with honors, McGill University.
An English teacher at Amherst (Mass.) Regional High School, Sara developed the nation's first full public high school course in gay and lesbian literature as her Goddard thesis project.
I had been teaching for a few years, and I wanted to do a low-residency master's in social-justice education. I wanted to determine my own course of study; I also didn't want to leave my job to go back to school. Goddard's program was the only one I found where you could start by doing a whole semester of research, then come up with a curriculum, and then put that into action. I said, "This is perfect!"
Once I clicked with the advisor who was right for me, it was amazing to be able to do all this independent work and have high-quality, one-on-one feedback. By the third semester I was field-testing the course at my high school. The next year my curriculum got approved as a full course offering.
Our course is reaching a diverse population--it attracts male students, students of color, students of all religions, and international students. And it's all thanks to that combination of getting a Goddard education and being able to put it into practice. For me, that was a magical combination.
BREAKING NEWS (1/17/13): DreamWorks Studios has acquired the manuscript to Matthew Quick’s latest novel, The Good Luck Of Right Now. It’s his follow-up to the Best Picture nominee Silver Linings Playbook and was bought by production president Holly Bario.
Big News for MFAW '07 alumnus Matthew Quick: Silver Linings Playbook movie receives 8 Oscar nominations! (1/10/2013)
Pictured at left: David O. Russell, Matthew Quick, Katie Couric, Bradley Cooper, and Robert De Niro.
The film adaptation of graduate Matthew M. Quick’s debut novel, The Silver Linings Playbook (Farrar, Straus & Giroux, 2008) received 8 Oscar nominations today, including Best Picture, Best Actor (Bradley Cooper), Best Actress (Jennifer Lawrence), Best Supporting Actor (Robert DeNiro), Best Supporting Actress (Jacki Weaver), Best Director (David O. Russell), and Best Adapted Screenplay (David O. Russell).
"There is no doubt this will be a contender….[This is] a film that is worth every satisfying minute you spend with it." - IndieWire
Hailed as a riotous, poignant story, the novel was Quick's thesis when he was completing his MFA in Creative Writing at Goddard College. When Quick, a former teacher, decided to earn his MFA, his first choice of schools was Goddard College.
“I had heard a lot about MFA programs that produce nothing but highbrow, highly polished academic literary fiction that reads much like everything else that comes out of MFA programs,” says Matthew Quick.
“Goddard’s emphasis on diversity and individuality really appealed to me. I think the Goddard catch phrase at the time was ‘Come as you are, leave who you want to be.’ A lot of other programs I looked at were not really saying anything like that.
"As a former teacher I had a pretty good idea of what I wanted out of an MFA program: self-directed learning that would allow me to take risks and follow hunches, and a safe environment in which I could make the mistakes we all need to endure if we are going to learn.”
Residency Sites: Plainfield, VT
My early work as a painter and installation artist explored the decomposing carnival as an emblem of postindustrial New York City. My imagery consisted of ferris wheels and junkies, fish being bathed in fire hydrant water, and the vanishing pastel colors of signs, bumper cars, and lights. My work changed as I realized that my paintings were serving as backdrops --- for human behavior. I wanted to emerge from the discreet relationship I was having with my “amusements” so my ideas could have more immediate contact with audiences – via performance.
The destitute amusement park was symbolic of the failed and dangerous city of my childhood. The flicker of its dizzying lights was also a metaphor for slipping in and out of the identities I sought to comprehend. For the last 20 years through performance I have been transforming the autobiographical and social histories that emerge from my biracial heritage. I have created a cast of characters that improvise in everyday social exchange, and perform for the stage.
My performances challenge conventional beliefs about race, sexual orientation, and gender in contemporary culture. As my European Jewish “bubbie”, I recall the candy-coated pleasures of Coney Island’s. I wax poetic from a park bench about my migration from Virginia to Harlem when I perform as my African-American grandmother. I am camouflaged within disco-era fractured reflections and pass as Greek when I revisit my 16-year-old identity. My alternate avocation as Butch-in-the-Kitchen, enables me to operate a meal plan service that is funded by fraudulent food stamps. In a torn tuxedo and teetering toupee, I perform as my grandfather, Uncle Bob, a ballroom dance teacher and social maestro from a well-battered 1960’s Borscht Belt mirage. My personifications of gender and race are subverted through their differences as well as their common embodiment. Simplistic conclusions about identity are undermined as one character transfigures into another.
In addition to performing as autobiographical characters, I reexamine a lexicon of images from popular entertainment and art that are expressive of my racial heritage. As a “Borscht Belt” comedian, I deliver a barrage of deprecating “standbys” while re-inscribing this genre’s legacy of Jewish blackface minstrelsy. I eschew the minstrel’s burnt cork for a crimson mask that gets accrued by dunking my face bathing in a 25-gallon tub of borscht.
I also re-embody the Jewish performance artist Eleanor Antin, and reinvent the character of her fictive black ballerina, Eleanora Antinova. I convert Antinova’s original evocation of Diaghilev’s revolutionary The Rite of Spring into a Detroit Rebellion that is envisioned with the Black Panther Party. I replace Antin’s original cast of Diaghilev and Nijinsky on wheels with life-size puppets that I animate of Huey Newton and Stokeley Carmichael. Antin, the white, Jewish straight artist who becomes black for this her ballerina role gets replaced by a white, Jewish, black, and butch lesbian.
The physicality with which I once painted has become transformed into the embodiment of personae. My earliest desire was to represent an antithesis to the artificiality of the amusement park’s candy-coating. Through dislodging familiar codes of representation, my performances now reflect an optional discourse about identity; they produce an aesthetic of hybridity. My own identity as a medium and a subject has created a wide and ever-growing range of characters. My characters seek to rouse dialogue with other urbanites. The stress, poignancy, bias, and joy that becomes reflected continues to enlarge the frame of my work.
I have performed at art spaces, galleries, festivals, and museums nationally, including the Detroit Institute of Arts; The Jewish Museum (NY); Bronx Museum of Art, Queens Museum of Art; University of Michigan Museum of Art (UMMA); and Arizona State University Art Museum. I have lecture at conferences and universities including the Open Engagement Conference (Portland, OR), Intervene! Interrupt! (UC Santa Cruz), Northwestern University, New School for Social Research, New York University, and Wayne State University. I have been awarded grants and fellowships from the Franklin Furnace Fund for Performance Art, New York Foundation for the Arts (NYFA), Urban Artist Initiative, and Skowhegan School of Art.
I am delighted to be a returning MFAIA faculty advisor to Goddard where I taught at Plainfield from 2005-2007 and Port Townsend in 2010. My teaching experience also includes School of Art and Design at University of Michigan, School of the Museum of Fine Arts (Boston), Queens College (CUNY), York College (CUNY); and the Harvey Milk Institute of Lesbian, Gay, Bisexual, and Transgender Studies (San Francisco).
Educational Background: M.F.A., University of California, Irvine; B.F.A., Queens College, CUNY
Residency Sites: Port Townsend, WA
I believe that we are all reaching towards health and well being and do the best that we can with what we know. Sometimes we feel like that is not enough, and feel a passion to widen our lens beyond ordinary reality towards curiosity, critical thinking, intuitive explorations and methodological academic research. Then what? My goal within the Health Arts & Sciences program is to help you accomplish this; to learn, observe, absorb and ultimately stand as someone who expresses with confidence your passion to live the spiritually, emotionally and physically healthy life that you seek.
My formal education and experience includes a four year theory and clinical Masters of Science degree in Oriental Medicine and 25 years of hands-on bodywork experience. Since 1988, I have been a Reiki Master, Bioenergy practitioner (student of Mietek Wirkus, the Polish healer), and student of traditional healers. I use many modalities including acupuncture, qi gong, stone and deep tissue massage, emotional release, light, energy, visualization, and journeying. I have additional training in diet and nutrition, movement therapy, and Western and Eastern ethnobotany. While living in Hawaii, I was traditionally trained in La’au Lap’aau, (herbal medicines), and Lomi Lomi massage.
For 25 years I’ve lived two lives by blending healing arts with the world of business and government. Much of my work has been informed by key elements of Social Ecology, which I studied under Murray Bookchin at Goddard in the late 1980s. I have been fortunate to bring dreams alive through a blending of eastern, western, multicultural, business and spiritual practices. As a result I have been able to develop, construct, and finance health care facilities and services for Native American tribes; develop infrastructure (drinking water, waste water and solid waste/recycling) for tribes and rural communities; facilitate strategic planning retreats for boards of directors and community organizations; create environmental businesses, and sit on local and national policy making committees to influence state and federal legislation, regulations and ordinances.
Many of our HAS students want to study other cultures; I believe that to be successful you must know your own origins, where you came from and how you got here. All strong leaders know their lineage and while much can be learned from books much more is gained from understanding your heritage.Doing this research is immensely rewarding and opens doors, builds bridges to other knowledge. Having worked with Native Americans and Hawaiians for the past 20 years I am strong proponent of indigenous knowledge held and used in context of the culture. At the same time I know that in order to be truly effective in today’s ‘outside’ world, we must all know the science and language of the cultures in which we live. There is a liminal space between these knowings, and this is the space where I love to dangle and explore.
The term “know your lineage” has many meanings including DNA, science and chemistry, but it is not just science that makes our lives unfold. It is the collective energy that we bring forward from the deep well of our histories. It is the stories that urge us to talk, to walk, and that give us courage to BE our journeys. It’s this journey that you will unfold here at Goddard.
So as way of introduction: I am the daughter of Mildred and Clarence, granddaughter of Anna and Josef and William and Catherine, and a long line of women and men who lived in Bavaria as well as the Carpathian Mountains bordering Poland, Hungary, and Ukraine. I am a second generation North American and the result of at least 10 ancestral generations that I can name. For me it is not only that I make decisions that will stretch forward through seven generations, but that I bear the responsibility of teaching what I have learned through the past seven (and more) ancestral generations that gave birth to me.
I live in Albuquerque, New Mexico where I own a small consulting company that works primarily with Native American tribes and rural communities in planning community health and wellness. I am licensed as an acupuncturist in Arizona, where I am building a small and part time practice. My work comes from a deeply spiritual practice that is grounded in traditions and ceremonies that have been shared with me by my Ukrainian-Ruthenian family, and others. I am on the board of directors for Kitka, a Balkan women's polyphonic singing ensemble, and I conduct international trainings for Acupuncturists Without Borders to prepare practitioners to respond to local, national, and international disasters.
Being a student at Goddard requires an unusual approach to learning, and someone who is eager to realize passion and self-motivation, self-direction, and curiosity about critical thinking and writing. I think of our students as artists, and students of life who are inspired to dig deeper, look farther, and be more than they might even think possible. It would be my heart’s pleasure to be of assistance to you in this process.
<p>MS in Oriental Medicine, International Institute of Chinese Medicine; BA in Urban Planning and Community Development, University of Pittsburgh.</p>
Saxophone player, composer, pianist, singer, politically committed poet, playwright, Archie Shepp is a legend. Archie Shepp’s connection with Goddard began in 1955 when he enrolled as a pre-law major on a full scholarship. Soon after, Archie began to write plays and became a theater major. He graduated from Goddard with a Bachelor of Arts in 1959.
In 1965 he released his first album. Since then, he has released more than 60 albums and played on stages all over the world. Archie’s importance in the jazz canon is indisputable. He was a leader in the 1960s black jazz avant-garde, or free jazz, movement, and has played with the likes of John Coltrane and other jazz greats.
His music speaks to a generation that is not content with the status quo, in terms of music and social equality, and he continuously pushes the boundaries of jazz through experimentation and innovation.
Archie Shepp was also an educator for more than 30 years, heading the Black Studies Program at the State University of New York in Buffalo from 1969 to 1971, and teaching at the University of Massachusetts from 1971 to 2001.
Archie Shepp was born in 1937 in Fort Lauderdale in Florida.
He grew up in Philadelphia, studied piano and saxophone and attended high school in Germantown; he went to college, became involved with theatre, met writers and poets, among them, Leroy Jones and wrote: "The Communist," an allegorical play, later renamed "Junebug," about the situation of black Americans.
In the late fifties, Archie Shepp also met the most radical musicians of the time: Lee Morgan, Bobby Timmons, Jimmy Garrison, Ted Curson, Beaver Harris ... his political consciousness found an expression in plays and theatrical productions which barely allowed him to make a living. In the beginning sixties he met Cecil Taylor and did two recordings with him.
Shepp started his own independent label, Archieball, in order to maintain full artistic freedom, to support independent jazz creation and, most importantly, to promote young jazz talents.
Getting my Masters at Goddard was one of the most enlightening, transformative experiences of my life. Before Goddard, being a lesbian rebel who thought outside the box had pretty much only gotten me grief (especially in my home state of Texas!), but at Goddard, I found not only complete acceptance, but faculty and other students who really value who I am and what I have to say. I found lifelong friends and mentors who continue to inspire and support me. I loved the residencies--they really reinforce the sense of community that is hard to find in other distance programs. I have now completed my Ph.D. in Psychology--something I would not have even thought about pursuing were it not for the inspiration I soaked up at Goddard. The school I attended for my PhD was good, but it will never rival Goddard.
Residency Sites: Plainfield, VT
Though both of my parents were teachers, I never imagined that I would become one. After studying biology as an undergraduate, I devoted the decade of the ‘90s to grassroots organizing for social and ecological justice, often in collaboration with community groups in other countries. During those years, I led several training programs for new organizers, but I never thought of that work as “teaching.” In the tradition of Paulo Freire, I was simply helping people discover what they already knew. I finally came to understand that’s what teaching is. In 2000 I shifted from full-time organizing to full-time writing and editing. I began teaching in 2006, while continuing to work as a writer and editor.
Just as social movements are born and come to fruition through small steps taken each day by regular people, so do works of literature and art. (That is to say, I’m an aficionado of the practice school of writing.) Fastening words to the page (or screen) is an essential part of every workshop or seminar I lead, just as it’s an essential part of a writer’s quotidian life. As a writing mentor, I bring a toolbox, both literal and metaphorical. It might include literature translated (or not translated) from a language you’ve never heard of; a connection to a writer or artist on the other side of the continent; or concepts borrowed from anthropology, biology, ecology, linguistics, or sociology. It might also include kitchen utensils; glue stick and scissors; postcards or advertisements; original works of art; bottled scents or raw vegetables; or items from a recycle bin, garden, toy box, or thrift shop. In writing workshop—whether our shared space is physical or virtual—I open the box, offer some tools, and we build things (good, bad, and most of all, instructive) together.
I co-edited Telling True Stories: A Nonfiction Writers’ Guide (Penguin, 2007) with Mark Kramer. My book No Word for Welcome: The Mexican Village Faces the Global Economy (University of Nebraska Press, 2011) won the Grub Street National Book Prize for Nonfiction and the International Latino Book Award for Best History / Political Book. I’ve long been interested in photography and book arts; I’ve recently begun experimenting with audio; and I’m thrilled by the possibilities of digital books and online literature. I have studied these media at the Instituto de Artes Gráficas de Oaxaca, Jack Straw Productions, Penland School of Crafts, and elsewhere. My prose began firmly grounded in narrative, but it’s begun bending toward the lyric. Recently, I’ve been writing about indigenous-language literature in Mexico, grief and loss, our national park system, and my neighborhood.
I have lived in Seattle’s Columbia City neighborhood since 2005, just a few blocks from Goddard’s Master’s in Education program. I moved the Columbia City for the same reasons that Goddard did. Having grown up on military bases in six states on all three coasts (Atlantic, Gulf, Pacific), I spent a childhood immersed in communities that were culturally, economically, and linguistically diverse. The first time I attended a school in which white people like me were a majority, as an undergraduate, it was a shock. That was not the America I knew.
I write (usually daily); I edit books (usually various shades of nonfiction); I translate poetry and short fiction (usually by indigenous Mexican writers); and I teach (usually in non-traditional settings). Always, no matter the practice or the place, each writer’s social engagement is paramount for me.
I look forward to collaborating with Goddard students to bring good, meaningful literature into being, to share it with a wider community, and to help one another discover what we already know.
MFA in Creative Writing, Bennington Writing Seminars; BA in Biology, Oberlin College
Residency Sites: Plainfield, VT
Transformative Education is a tool for social justice and storytelling is a vehicle for social change. These are my two loves. I am the product of a large, east coast, urban school system. By the time I was born, educational opportunities for Black people in America had increased so that I had opportunities that were even beyond those of my older siblings. My family had established a relationship with schools and schooling (albeit that of tolerance rather than of mutual embrace) and a clear intention of acquiring all that integrated education promised. My parents understood education as an American institution that we could use against oppressive forces. My parents, both great storytellers and each teachers in practice and by passion although not by trade, taught us-encouraged us-to articulate our understanding of the world.
So as Martin and Malcolm and the Kennedys were assassinated, as the images of the Vietnam War were aired on nightly news, as Southern churches were being bombed and hoses were turned on civil rights and anti-war protesters, dialogue was being held in our household. Central to Friere’s work is the idea that both teachers and students are agents engaged in the process of both constructing and reconstructing meaning. I live in the recognition of each individual’s ability to interpret and articulate reality through naming, reading, and thus owning and knowing that reality. Like so many who hold membership in marginalized populations, we were able to use school as a tool for production of meaning and still resist and reshape the hegemony of the institution.
Thus, at 10 years old, I channeled the terror of seeing girls my age napalmed and the obituary photos of little colored girls that perished in church bombings, who could have been me or my baby sister into framing in the language of my 5th grade social studies texts an anti-war, humanist, and feminist stand. Listening to my parents “grapple” with the issues developed my ability to think critically and to self reflect – critical to theories of transformative education.
My early teachers (Sunday school, dance class, art enrichment) were friends and family. I had always been in learning settings with family and community members. I found “real” school a lonely and hostile place. The first time I was ever hit by an adult was in school by my kindergarten teacher. While I was always an A/B student, I hated school and felt that school was out to break me. Nevertheless, I graduated in the top 10th percentile of my city’s graduates in the mid 1970s.
Imagine my shock and appall when I landed at Wellesley College ill-prepared for this culture of privilege, inexperienced with blatant racism and unwilling to bend to the rules of power. Here is where my transformative education, which began in my home, was augmented by traditional education settings. I began to investigate why I had “made it” while my peers, just as smart as I was, barely made it to community colleges. Why was I struggling with my courses, even though the content itself was not difficult to master? Why was I struggling while my more affluent (and often less academically excellent) counterparts were not? Why are women, the poor, people of color and gay, lesbian and transgendered typically on the margins of society? What role does education have in this set-up?
My experience of having matriculated and served on the faculty at the traditional environments of Ivy League institutions, state-supported institutions, and in the progressive environments of institutions emphasizing education for mid-career adults informs the exploration of these questions. The question of how different educational environments influence academic achievement, professional development, and personal fulfillment for different people bring me to my work, which is my love.
Because of my humanist upbringing, my feminist consciousness and experience in the world as a Black woman rooted in both working and middle-class society, I have always been conscious of the complexity of race, class, ethnic, and gender oppression. I seek to create ways to raise issues of social responsibility and oppression that affect both the marginalized and those that hold membership in socially/politically privileged groups.
I want to help students critically explore their own experiences as Black, Asian, Lation/a, and White people; as male and female members of society; and as individuals from privileged, working-, middle-class, and family in poverty. Using storytelling and narrating personal experience is a way to critique these values and to critically examine the ideologies of dominant culture that many of us regard as “common sense” knowledge. I seek to help create practices in schooling that will begin to change social structures and create new patterns that accommodate difference. I see this work as necessary, challenging, and rewarding.
EdD in Educational Leadership and Change, Fielding University; BA in Multicultural Education, Goddard College; AA in Sociology, University of Pennsylvania.
Mary Ellen Dale
In inner-city Cleveland, Mary Ellen Dale has created Dale House, a program that delivers life-changing therapy to teenagers entirely through the performing arts.
I was looking for a program to help me train for working with young people, and Goddard allowed me to choose what I wanted to learn. The program here gave me hands-on experience. You get caught up in it. Then I interned at a family clinic in Cleveland, where I was able to put in practice all I had learned.
I was working with teenagers—but many of my clients didn’t want to be there. I started asking them, “What do you want to do with your life?” And they started telling me. “ I want to be a writer, I want to be a singer, I want to be a dancer.” That’s how Dale House was born.
My whole premise is getting these kids on stage, because that’s where the real therapy comes in. We work all year for the summer community festivals—we dance, sing, read poetry. The children dig within themselves: they find their passion, and we build on that. Kids come to us from all over the city. Once we find the good, we bring it out.
Goddard allows you to use the talents you have, and come out with something you really love—to develop a passion. In the beginning, I wasn’t sure that was going to happen. But after I got started, it was beautiful.
My Goddard education was a wonderful, formative experience for me. As a scholar of education, I purposefully searched for a graduate program that emphasized student-driven learning and encouraged me to develop my own ideas. Goddard offered me this learning community – a community that challenged me to think in new ways about theory and practice and supported my ideas. I now use these skills in my workplace on a daily basis as I create and implement new initiatives that affect student life in higher education. I graduated from the Partnership Education concentration, and found my work with my faculty advisor to be one of the most important components of my work. I would enjoy talking to anyone interested in the Partnership program, but also in Goddard in general—it’s a remarkable place!
Residency Sites: Plainfield, VT
I have been engaged in a rich and exciting career in the field of education for many years. A large part of my professional life was in New York City where I began as a third grade teacher in Spanish Harlem district 4. From there I moved on to higher education, where I taught English-as-a-Second Language, reading, and education methods courses . For the past ten years I have been a teacher educator at Central Connecticut State University.
As a constructivist I am respectful of student diversity and recognize the central role that individual and cultural experiences play in the learning process. However, I also believe that educators must be guided by theory, best practice, excellent interpersonal skills, enthusiasm, and a commitment to quality education underscored by the belief that we are all capable of learning. As an educator, I promote multiculturalism, quality in educational courses and programs, a forward-looking perspective, and always an emphasis on student-centered learning.
In my role as teacher and scholar, I believe teachers have the responsibility to nurture students’ understanding and celebrating of who they are both personally and culturally. Teachers must be willing and skilled in creating instructional contexts where culturally diverse learners can become active partners in the learning process. This implies that in order to teach effectively, teachers should learn about their students’ culture, background, and experience. The two book projects I have been part of Puerto Rico Past and Present: An Encyclopedia (1998) and Notable Caribbeans and Caribbean Americans (2003) propose to provide a resource for this to happen.
PhD in Curriculum and Instruction, New York University; MS in Education Guidance and Counseling, Richmond College (CUNY); BS in Secondary Education, English and Social Studies, Universidad Catoacutelica de Puerto Rico.
administrator, Blog Publisher, Student
Samantha lives in Montpelier, Vermont. Her poems have appeared in Red Silk: A Red Tent Anthology, Mama Says, and PoemCity. Her poem, “Jewel Tones,” received runner-up in the 2010 Ruth Stone Poetry Prize at Hunger Mountain Journal. She also has a poem forthcoming in the next Minerva Rising journal.
She is a first-place slam poetry performer and occasional slam master in and around central Vermont where she also likes to hike, ice skate, read, write, bake banana bread, and raise her son. Samantha is currently a student in the MFA in creative writing program at Goddard College.
You can read her poems on her blog at www.sam-poet.blogspot.com.
Residency Sites: Plainfield, VT
My art work centers around story, place and community. I begin by listening carefully and looking closely, distilling my experience into a form that generally includes text, or sound, and image, and invites viewer or audience participation. By sharing and creating new stories of place and community, I seek to move from the personal to the political, reestablish connections, suggest relationships and kindle new meaning. I address both the heart and mind, intuitive and analytical modes of thought. I call myself an ecological artist, as I am concerned with the dynamics of living systems—exploring the interrelationships between the biological, physical, historical, cultural, and political aspects of the environments in which we live.
I have been actively engaged as an artist and occasional critic for over twenty-five years. I work in a variety of media, from performance to photography, artists’ books, installations and computer media. My exhibitions range from Franklin Furnace, New York, to New Langton Arts in San Francisco. I have completed residencies/environmental installations in such diverse locations as the Exploratorium, Chaco Canyon, San Bernardino Children's Forest, and the Tijuana River Estuary. My writing has been published in periodicals including LEONARD Exposure, High Performance, TIKKUN, The Communication Review, Women's Studies, and the anthology, With Other Eyes: Race, Gender, and Visual Culture.
Though I still pride myself on being a Berkeley native, I have lived in San Diego for most of my professional life. Much of my work addresses the area in which I reside, from suburbia to the border region. I have been a member of the multi-cultural/national artists’ collaborative group, Las Comadres. I received a Fulbright to teach at the Autonomous University of Baja California, Tijuana and am currently the president of the Binational Association of Schools of Communications, a group that works to facilitate educational exchange between students on both sides of the border.
To give some sense of the range and breadth of my work, I began by developing an intimate relationship with place and shared the stories of my experience in the form of performative lectures, a form to which I have recently returned. Seeking to create a more dynamic interpretation of the ecology of parks and natural areas, I have created a series of "nature walks" that invite close observation and contemplation, raising questions instead of providing answers. All of my work, but particularly these contemplative pieces, are informed by my deep commitment to Tibetan Buddhist practice. In recent years more and more of my work is created on the computer. One extensive project of digital montages, developed as an installation, bus posters, and an extensive web site, If Frogs Sicken and Die, What Will Happen to the Princes?, uses the frog as an indicator species of the human relationship to the natural world. Another project documents Palestinian Jewish Dialogue in San Diego, allowing the viewer to recreate the experience. To learn more about my work, please visit my web site.
I am an avid reader of contemporary critical theory and write about contemporary art. Most of my published essays address gender, race, and representation. Currently I am writing about how new theories of art and science inform an ecological art practice. I am very concerned with making contemporary art and critical theory available to both teachers and students. To this end, I have participated in and developed various innovative arts education programs. On the college level I have taught classes in photography, digital and mixed media, and contemporary history/critical theory for twenty years. In addition to being a faculty member at Goddard, I am a lecturer at the University of California, San Diego.
I tremendously appreciate working in an interdisciplinary, self-directed context with Goddard students. I see teaching as a mutual learning process. I try to help students find and give voice to their passion, develop a personal working process, and build confidence to deepen and broaden their work.
MFA in Visual Arts, University of California, San Diego; BA in Environmental Science (Biology and Anthropology/Sociology), Swarthmore College.