POTO ESSAY: White people don’t walk here > from Mahala

White people don’t walk here

Friday, April 23rd, 2010 by Samora Chapman

Hey Mister I like your tattoos, I’ve been thinking of getting decorated myself.
“Lemme ask you something son, did god make you with tattoos on your skin? No. These are prison tattoos, I was possessed when I was I laaitie. You’re a nice boy, don’t go destroying something that’s perfect. And be careful around here ma bru, I’m a nice guy now but if you’d come across me 20 years ago I would have fucked you up and taken your camera!”

I stepped down the road to the sound of bird’s song. Cheap radio speakers, street karaoke sing along.

She sits in the same spot everyday, her back turned to the street. Every woman looks better in a sun dress. But we know better don’t we? Those pretty prison pinafores.

Hiding behind a plastic halo. The reflections an imperfection. “What you want? Chewing gum or cigarettes? Now it’s best you keep those feet walking on down that street.”

“Hey wena, give me money for photo. R30 please man, I need gwaais. What’s your name?”
Samora.
“What? Samora! Hayibo, Samora Machel! Are you a black man?”

Black and white is a misnomer. There’s always a few shades of grey. During Apartheid we were segregated into the racial groups Black, White, Indian and Coloured. And then came the white elephant.

Street corner Numzans.

Catatonia: a form of schizophrenia characterised by a general demeanour of stupour with outbreaks of chronic excitement. Moses the quiet street vendor posed for a flick and was suddenly possessed by a wailing ancestor. His eyes bugged out of his head like a dying fish as he bared his broken teeth. He then sat back down on his milk crate and chuckled.
“Hehe did you see the look on that umlungus face?’”

The beachfront has been torn, gutted and mangled to the point that it resembles a butchered victim. Palm trees droop like forlorn refugees on deaths doorstep, the earth opens out like a carcass as wire and pylons poke the sky. The ‘Something Fishy’ sign has been a melted and grotesque statue for months. A symbol of a world gone mad. They had to tear apart the beachfront to make it shcick and modern so that it matches the stadium.

The graffiti kid crouched on this sidewalk at 2 am. I hope gods got his back Amen. Human faeces clung to his feet like bubblegum. Chrome to the concrete like a sunbirds hum. Stop talking. Keep walking.

INFO: Meet Lee Baker > from North Carolina Public Radio WUNC

Meet Lee Baker

Meet Lee Baker

 

Duke anthropology professor Lee Baker grew up grappling with provocative questions about race and culture. His adoptive parents were white while he was African-American, and the physical differences between him and his siblings led to plenty of schoolyard discussions. He decided to spend his career examining issues of identity, race and culture after he lived as a high school exchange student with an Aboriginal family in Australia. Baker chronicles his own journey in the preface to his new book "Anthropology and the Racial Politics of Culture." Host Frank Stasio talks with Baker about his book and his formative life story.

 

VIDEO: Centric Presents: Funk 101 w/Bootsy Collins > from kiss my black ads

Centric Presents: Funk 101 w/Bootsy Collins

 

I'm there.

 

Mookie n 'Nem say...

 

Good evening
Do not attempt to adjust your radio, there is nothing wrong
We have taken control as to bring you this special show
We will return it to you as soon as you are grooving

Welcome to station W E F U N K, better known as We-Funk
Or deeper still, the Mothership Connection
Home of the extraterrestrial brothers
Dealers of funky music, P.Funk, uncut funk, the bomb

Coming you directly from the Mothership
Top of the chocolate milky way, 500, 000 kilowatts of P.Funk power
So kick back, dig, while we do it to you in your eardrums
And me? I'm known as Lollipop Man
Alias, The Long Haired Sucker, my motto is

Make my funk the P.Funk, I want my funk uncut
Make my funk the P.Funk, I wants to get funked up
I want the bomb, I want the P.Funk, I want my funk uncut
Make my funk the P.Funk, I wants to get funked up

Yeah, W E F U N K, y'all now this is what I want you all to do
If you got faults, defects or shortcomings you know
Like arthritis, rheumatism or migraines
Whatever part of your body it is, I want you to lay it on your radio
Let the vibes flow through, funk not only moves, it can remove, dig?

The desired effect is what you get
When you improve your Interplanetary Funksmanship

Sir Lollipop Man, chocolate coated, freaky and habit forming
Doin' it to you in 3-D, so groovy that I dig me
Once upon a time called, 'Now'
Somebody say, "Is there funk after the death? "
I say, "Is Seven Up? ", yeah, P.Funk

Make my funk the P.Funk, I want my funk uncut
Make my funk the P.Funk, I wants to get funked up
I want the bomb, I want the P.Funk, I want my funk uncut
Make my funk the P.Funk, I wants to get funked up

Make my funk the P.Funk, I want my funk uncut
Make my funk the P.Funk, I wants to get funked up
I want the bomb, I want the P.Funk, don't want my funk stepped on
Make my funk the P.Funk before I take it home

Yeah, I dig, let me put my sunglasses on
That's the law around here, you got to wear your sunglasses
So you can feel cool, gangster lean, y'all should dig my sunroof top

Well, alright, hey I was diggin' on y'all funk for a while
Sounds like it got a three on it though to me
Then I was down South and I heard some funk
With some main ingredients like
Doobie Brothers, Blue Magic, David Bowie
It was cool, but can you imagine Doobie-in' your funk?
W E F U N K, We-Funk

Make my funk the P.Funk, I want my funk uncut
Make my funk the P.Funk, I wants to get funked up
I want the bomb, I want the P.Funk, don't want my funk stepped on
Make my funk the P.Funk before I take it home

Gettin' deep
Once upon a time called 'Right Now'
Ain't it funky now?
Far around
Hey, doin' it to you in the ear hole

Make my funk the P.Funk, I want my funk uncut
Make my funk the P.Funk, I wants to get funked up
I want the bomb, I want the P.Funk, don't want my funk stepped on
Make my funk the P.Funk before I take it home

Yeah
We're not leavin' y'all, I want you all to stay tuned for Starchild

Make my funk the P.Funk, I want my funk uncut
Make my funk the P.Funk, I wants to get funked up
I want the bomb, I want the P.Funk, don't want my funk stepped on
Make my funk the P.Funk before I take it home

Don't stop, get down
Talk, blow your horn
Pee you
Wants to get funked up
Well alright

Make my funk the P.Funk, I want my funk uncut
Make my funk the P.Funk, I wants to get funked up
I want the bomb, I want the P.Funk, I want my funk uncut
Make my funk the P.Funk, I wants to get funked up

Welcome to station W E F U N K, better known as
We-Funk or deeper still, the Mothership Connection
Home of the extra terrestrial brothers
Dealers of funky music, P.Funk, uncut funk, the bomb

Lollipop Man here, alias, the Long Haired Sucker
Chocolate coated, freaky and habit forming
Coming to you in 3-D, so groovy that I dig me
Yeah, yeah, P.Funk

Make my funk the P.Funk, I want my funk uncut
Make my funk the P.Funk, I wants to get funked up
I want the bomb, I want the P.Funk, don't want my funk stepped on
Make my funk the P.Funk before I take it home

 

 

 

VIDEO: Black Bottom Collective "L-O-V-E" > from My Damn Channel

Black Bottom was an African-American neighborhood near Downtown Detroit where, in the late 40's and 50's, artists like John Lee Hooker helped spawn the local rhythm and blues sound. Although firmly rooted in hip hop, BBC does not need loops and samples to establish an authentic R&B groove - they are a timeless live funk band. Leader Khary Turner is also a highly regarded journalist and his literary prowess elevates their lyrics to poetic heights. For my money, they are one of the hippest bands in this or any city.

To learn more about the Black Bottom Collective, visit www.blackbottomcollective.com

CLICK HERE FOR A FREE DOWNLOAD OF
“L-O-V-E” MP3

(PC users right click, choose
Save As)

KHARY KIMANI TURNER
Poet/Emcee
TUNESIA 'TRUE' TURNER
Vocals
KAREN 'KAY BOSCO' BENNETT
Vocals
MARK 'SWAMI' HARPER
Keyboards
KAMAU INAEDE
Bass
EDWARD 'TEDUARDO' CANADAY
Guitar
IVAN 'GROOVE' PROSPER
Drums

PRODUCED BY DON WAS
Recorded by STEVE 'DR. CHING' KING
At 54 SOUND, FERNDALE, MICHIGAN
Assisted by Tony Campagna
Mixed by KRISH SHARMA
at HENSON STUDIO D
Assisted by Glenn Pittman

WRITTEN BY KHARY TURNER c2005
VIDEO SHOT BY
JOHN 'QUIG' QUIGLY
AND JIM HANNON FOR
CHROME BUMPER FILMS
EDITED BY GEMMA CORFIELD

 

VIDEO: “Grown in Detroit” (Nature Takes Over A City) > from Shadow And Act

“Grown in Detroit” (Nature Takes Over A City)

Mother Nature picture 2 presskit

The story goes… Directed by Netherlanders, Mascha and Manfred Poppenk, in the economically devastated neighborhoods of Detroit, MI, hope is difficult to come by. For the students of the Catherine Ferguson Academy, each one of them pregnant or a mother of a small child, hope literally grows in the abundant vacant lots that surround their school; in addition to their academic studies, the students also learn to become farmers, growing fruits and vegetables and learning the business of agriculture.

The film is currently on the film festival circuit, with a DVD release scheduled for May. As for other release types, I’d guess that we might see it get picked up by a network like PBS, or one of a handful of female-centered networks – maybe even Oprah’s upcoming OWN.

You can also watch it directly on the film’s website, on demand. You pay what you want to support the film which gives you on-line access to the documentary for one day. More HERE.

The trailer follows below:

PUB: Reminder—Cave Canem Poetry Contest

2010 Cave Canem Poetry Prize

 


Guidelines

 

Award: Winner receives $1,000, publication by The University of Georgia Press in fall 2011, 15 copies of the book and a feature reading.

 

Final Judge: Elizabeth Alexander. (Judge reserves the right not to select a winner or honorable mentions.)

 

Eligibility: African American writers who have not had a full‐length book of poetry published by a professional press. Authors of chapbooks and self‐published books with a maximum print run of 500 may apply. Simultaneous submission to other book awards should be noted: immediate notice upon winning such an award is required. Winner agrees to be in the United States at her or his own expense when the book is published in order to participate in promotional reading(s).

 

Deadline: Reading period opens March 15, 2010. Manuscripts must be postmarked no later than April 30, 2010. Manuscripts received after May 8, 2010, 5 pm, will not be considered, regardless of postmark date. To be notified that your manuscript has been received, enclose a stamped, selfaddressed postcard. Winner announced in September 2010.

 

Entry Fee: $15. Enclose check with submission, made payable to Cave Canem Foundation. Entry fees are non‐refundable.

 

Direct packet to:

Cave Canem Foundation

Cave Canem Poetry Prize

20 Jay Street, Suite 310‐A

Brooklyn, NY 11201

 

Submission

 

Œ Send two copies of a single manuscript. One manuscript per poet allowed.

 

Œ Enclose a stamped, self‐addressed envelope to receive notification of results.

 

Œ Author’s name should not appear on any pages within the manuscript. Copy One must include a title page with the author’s brief bio (200 words, maximum) and contact information: name, postal address, e‐mail address and telephone number. Copy Two must include a cover sheet with the title only.

 

Œ Manuscript must include a table of contents and list of acknowledgments of previously published poems.

 

Œ Manuscript must be single sided with a font size of 11 or 12, paginated, and 50‐75 pages in length, inclusive of title page, table of contents and acknowledgments. A poem may be multiple pages, but no more than one poem per page is permitted.

 

Œ Manuscript must be unbound. Use a binder clip—do not staple or fold. Do not include illustrations or images of any kind.

 

Œ Manuscripts not adhering to submission guidelines will be discarded without notice to sender.

 

Œ Due to the volume of submissions, manuscripts will not be returned. Post‐submission revisions or corrections are not permitted.

PUB: 2010 Family Circle Fiction Contest

2010 Family Circle Fiction Contest Rules

See the rules and entry information for the 2010 Family Circle Fiction Contest.

 

NO PURCHASE NECESSARY TO ENTER OR WIN.

Contest begins March 1, 2010 and ends September 8, 2010. Entries must be postmarked on or before September 8, 2010 and received by September 15, 2010. Entries will not be acknowledged or returned. Sponsor: Meredith Corporation, 1716 Locust St., Des Moines, Iowa. Sponsor assumes no responsibility for illegible, lost, late, misdirected, incomplete, or stolen entries or mail.

ENTRY: Submit an original (written by entrant), fiction short story of no more than 2,500 words, typed on 8-1/2x11paper. Entries must be unpublished and may not have won any prize or award. Include your name, address, daytime telephone number and e-mail address (optional) on each page and send to: Family Circle Fiction Contest, c/o Family Circle Magazine, 375 Lexington Avenue, Ninth Floor, New York, NY 10017.

LIMIT: Up to two (2) entries per person will be accepted but each entry must be a unique short story. No group entries. Sponsor reserves the right, in its sole discretion, to reject, disqualify, modify, edit, and revise any entries, subjects, stories, or related materials that Sponsor deems to be nude, obscene, defamatory, profane, offensive, lewd, pornographic, false, misleading, deceptive, or otherwise inconsistent with its editorial standards, audience expectations, or reputational interests or that Sponsor believes may violate any applicable law or regulation or the rights of any third party. By entering this contest, entrants consent to a background check, and Sponsor reserves the right, in its sole discretion, to verify any element of any entry or related materials and to disqualify any entrant whose participation may subject the contest, Sponsor, or Sponsor's advertisers, clients, or customers to controversy, negative publicity, scorn, or ridicule.

ELIGIBILITY: Legal residents of the 50 United States, and the District of Columbia, 21 years of age or older are eligible to enter, except employees of Sponsor, and any other organizations affiliated with the sponsorship, fulfillment, administration, prize support, advertisement or promotion of the contest and/or their respective agents, affiliates, subsidiaries, and members of their immediate families or persons residing at the same address.

WINNER SELECTION: On or about October 15, 2010 a qualified panel of judges will judge eligible entries equally on the basis of sustained writing ability (25%), topic creativity (25%), originality (25%), and overall excellence (25%). One (1) grand prize winner and two (2) runners-up will be selected. In the event of a tie, a qualified panel of judges will determine the winner based on the criterion of overall excellence. Sponsor reserves the right to choose fewer than two runners-up if, in its sole discretion, it does not receive a sufficient number of eligible and qualified entries. Potential winners will be notified by phone and/or mail and the prizes delivered on or about November 30, 2010. Decisions of judges are final and binding in all respects.

PRIZING: One (1) Grand Prize winner will receive a prize package including a check for $750.00, a gift certificate to one (1) mediabistro.com course of his or her choice, up to a value of $610.00, one (1) year mediabistro.com AvantGuild membership valued at $55.00 and a one (1) year mediabistro.com On Demand Videos membership valued at $160.00. Total approximate retail value of grand prize package $1,575.00. One (1) Second Place winner will receive a check for $250.00, a one (1) year mediabistro.com AvantGuild membership valued at $55.00 and a one (1) year mediabistro.com on Demand Videos membership valued at $160.00. Total retail value ("RV") of second place prize package $465.00. One (1) Third Place winner will receive a check for $250.00 and a one (1) year mediabistro.com AvantGuild membership valued at $55.00. Total RV of third place prize package $305.00. One (1) prize per household. Prizes may not be assigned, transferred, or changed, except at the sole discretion of Sponsor. The awarding of any prize is contingent upon full compliance with these Official Rules. The Grand Prize winner's story may, in the sole discretion of Sponsor, be published in a future issue of Family Circle magazine. Runner up stories may, in the sole discretion of sponsor, appear on the Family Circle website, currently located at www.familycircle.com. Publication of winning entries is not guaranteed, and has no retail value.

CONDITIONS/WARRANTIES: Entrants agree to be bound by Official Rules and agree that if any winner fails to provide proof of identity, refuses to provide required affidavit, is found to have violated the Official Rules or otherwise does not meet eligibility criteria, prize will be forfeited and awarded to an alternate winner. Entrants understand that Sponsor is not liable for injuries, losses or damages of any kind arising from participation in this promotion and acceptance, possession and use of prize. Sponsor is not responsible for any typographical or other error in the printing of the offer, administration of the contest or in the announcement of the prize. Decisions of Sponsor are final and binding in all respects.

PRIVACY: By entering and providing the required entry information, you acknowledge that Sponsor may also send you information, samples or special offers it believes may be of interest to you about its publications or other complementary goods offered by Sponsor. IF YOU DO NOT WISH TO SHARE YOUR INFORMATION, PLEASE DO NOT ENTER THIS PROMOTION.

DISPUTE RESOLUTION: Except where prohibited, by participating Contest entrants agree that: All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or the rights and obligations of participants and Sponsor and their agents shall be governed by and construed exclusively in accordance with the laws of the State of New York without giving effect to any principles of conflicts of law of any jurisdiction. Entrant agrees that any action at law or in equity arising out of or relating to this Contest, or awarding of the prizes, shall be filed only in the state or federal courts located in the State of New York and entrant hereby consents and submits to the personal jurisdiction of such courts for the purposes of litigating any such action. Except where prohibited, by participating in this Contest, entrant agrees that: (a) any and all disputes, claims, and causes of action arising out of or connected with this Contest, or awarding of the prizes, shall be resolved individually, without resort to any form of class action; and (b) any and all claims, judgments and awards shall be limited to actual out-of-pocket costs incurred, including costs associated with participating in this Contest but in no event attorneys' fees; and (c) under no circumstances will any participant be permitted to obtain awards for and hereby waives all rights to claim punitive, incidental and consequential damages and any other damages, other than for actual out-of-pocket expenses, and any and all rights to have damages multiplied or otherwise increased. Some jurisdictions do not allow the limitations or exclusion of liability for incidental or consequential damages, so the above may not apply to you.

GENERAL: Except where prohibited by law: (i) entry constitutes permission to use entrants' entry, name, hometown, voice, likeness, photograph and any statements regarding this contest for editorial, public relations, promotional and advertising purposes on behalf of Sponsor without compensation; (ii) potential winners will be required to complete and return an Affidavit of Eligibility/Ownership/Liability Release, Publicity Release and License of Pre-Existing Work within ten (10) days of notification or the entry with the next highest score may become an alternate winner. If winner notification is returned as undeliverable, the entry with the next highest score may become an alternate winner. By participating and winning a prize, winners release Sponsor, and its parents, affiliates, subsidiaries and agencies and their respective directors, officers, employees and agents from any and all liability with respect to the prize won and participation in the contest. Subject to all U. S. federal, state and local laws and regulations. Void where prohibited. Taxes on prizes are sole responsibility of winners. Grand prize winner will be issued a 1099 tax form for the retail value of the prize. For winners' names, available after December 15th, 2010, send a separate, self-addressed, stamped envelope to Winners' List/Fiction Writing Contest, Family Circle Magazine, 375 Lexington Avenue, New York, NY 10017. VT residents may omit return postage.

 

PUB: Connecticut Poetry Society Poetry Contest

WINNERS OF CPS CONTESTS ARE NOT ELIGIBLE
TO WIN ANY CPS CONTEST THE FOLLOWING YEAR.

The Connecticut Poetry Society sponsors these poetry contests:

The Connecticut Poetry Award
April 1, 2010 to May 31, 2010
Accepting Submissions
for Guidelines Click Here

The Al Savard Memorial Poetry Contest
March 1 2010 to April 30, 2010-Currently Accepting Submissions
Guidelines Click Here

The Connecticut River Review Contest
DEC 1, 2009 to FEB 28, 2010 - CLOSED
2010 WINNERS Click Here

The Lynn DeCaro Poetry Contest
DEC 1, 2010 to MARCH 15, 2010- Closed

Winners Announced for 2009/2010 Click Here

CONNECTICUT RIVER REVIEW POETRY CONTEST

Open to all poets. NEW GUIDELINES AND PRIZE AMOUNTS

Contest Over: Dec. 1, 2009- Feb. 28th 2010

Prizes of $400, $200, and $100. Send up to 3 unpublished poems, any form, 80 line limit each. Include two copies of each poem: one with complete contact info and one with NO contact info. Both copies should be marked CRR Contest. Include SASE for results only (no poems will be returned). Winning poems must be submitted by disc or electronically following notification. Send fee of $15 for up to three poems; make check out to Connecticut Poetry Society. Prize winning poems will be published in Connecticut River Review.. Send submissions to CT River Review Poetry Contest, CPS, PO Box 270554, West Hartford, CT 06127.

Simultaneous submissions are okay. If a poem is taken by another venue, we would expect to be notified of that immediately so that it could be withdrawn from the CPS contest.

WINNERS OF CPS CONTESTS ARE NOT ELIGIBLE TO WIN ANY CPS CONTEST THE FOLLOWING YEAR.

Winners 2010
Connecticut River Review Poetry Contest

The Connecticut Poetry Society is pleased to announce the winners of the 2010 Connecticut River Review Poetry Contest. From a very strong field of submissions, judge James Finnegan selected these poems:

1st prize: Rosanna Young Oh for “Landscape with Monk and Sea”

2nd prize: Colette Gill for “Ballad of Tsvetaeva”

Honorable Mentions: JoAnne Bauer for “Mother Mine,” Sharon Charde for “Get Lost,” Jack Cooper for “Posturing,” Pat Hale for “Table for One,” Ruth Hill for “Public Inquiry,” Margaret Iacobellis for “The Winner,” Alvin Laster for “Blind Child at the Piano,” Kolette Montague for “Dawn After a Sleepless Night,” Korkut Omaran for “Sketching Instructions for Travelers,” J. Stephen Rhodes for “Crows” Julia Simpson for “Learning How to Paint Light,” Mark Taksa for “In Praise of Using,” and Elaine Zimmerman for “Speaking Truth.”

Judge Finnegan said of the first prize poem “the difficulties of teaching across a language barrier are neatly explained in terse sentences that mirror the act portrayed in the poem.” His comments on the other winners: “Landscape with Monk and Sea manages to make new that long tradition of poems (and of art) that involves that very human act of staring out to sea.” About Ballad for Tsvetaeva he said, “The jagged rhyme and fitful imagery give emotional immediacy to the Russian poet’s life and times.” He chose a large number of honorable mentions because the overall quality of submissions was so high and these poems are “all worthy of praise.”

About the judge: James Finnegan is co-editor of Visiting Wallace: Poems Inspired by the Life and Work of Wallace Stevens and is president of the Hartford organization: Friends and Enemies of Wallace Stevens.

 

LYNN DECARO POETRY CONTEST

Open to Connecticut high school students only (grades 9 - 12)

Dec. 1, 2009 to - March 15th 2010 Deadline -closed

Winners 2009/2010 contest:

The Connecticut Poetry Society is pleased to announce the winners of the 2009 Lynn DeCaro Poetry Contest for high school students. Judge Marilyn Johnston selected these poems:

1st prize: “Rome” by Lindsey Pellino of Vernon

2nd prize: “Harvest” by Cara Dorris of Glastonbury

3rd prize: “so much happens in my head” by Courtney Littlewood of Mystic

Honorable Mentions: “In Homage to M.C. Escher” by Timothy West of Vernon and “Free Fall” by Alison Steed of Vernon

Judge Marilyn Johnston commented, “It was difficult to make the final choices; I am glad to see the art of poetry is thriving among so many talented practitioners in our high school population.”


On the first prize poem, Johnston said, “This poem stood out strongly for its originality, imagination, and broad sensibility. This poem is ambitious, risky, yet successful because of the truly beautiful music of its short and long lines and the profoundly thought-provoking statements and images this voice speaks…a tour de force.”


Comments on the other award winners: Regarding the second prize poem, Johnston commented, “I was very impressed by the deft handling of memory and subtle shifts of time in this poem.” Miss Johnston said that the third prize winner bonds love and fear together in “a tension that runs throughout…the central image is unforgettable.” In describing the honorable mention poems, she used words such as vivid, imaginative, well-written, dramatic, and moving.


Judge Marilyn E. Johnston’s books, Weight of the Angel and Silk Fist Songs were published by Antrim House Books. She directs a popular reading series in the Bloomfield Public Libraries for Connecticut poets.

Prizes of $75, $50, and $25. This contest was established to honor Lynn DeCaro, a promising young CPS member who died of leukemia in 1986. Send up to 3 unpublished poems, any form, 40 line limit each. Include two copies of each poem: one with complete contact info and one with NO contact info. Both copies should be marked DeCaro Contest. Include SASE, a stamped, self-addressed, stamped envelope, for results only (no poems will be returned). Winning poems must be submitted by disc or electronically following notification. There is no entry fee for this contest. Prize winning poems will be published in Long River Run. Send submissions to Lynn DeCaro Poetry Contest, CPS, PO Box 270554, West Hartford, CT 06127.

Simultaneous submissions are okay. If a poem is taken by another venue, we would expect to be notified of that immediately so that it could be withdrawn from the CPS contest.

 

WINNERS OF CPS CONTESTS ARE NOT ELIGIBLE TO WIN ANY CPS CONTEST THE FOLLOWING YEAR.

AL SAVARD MEMORIAL POETRY CONTEST Open only to Connecticut poets. Free for CPS Members Submit poems: March 1- April 30th 2010 (postmark) Prizes of $150, $75, and $50. Send up to 3 unpublished poems, any form, 40 line limit each. Include two copies of each poem: one with complete contact info and one with NO contact info. Both copies should be marked Savard Contest. Include SASE for results only (no poems will be returned). Winning poems must be submitted by disc or electronically following notification. Send fee of $10 for up to three poems; please make check out to Connecticut Poetry Society. There is no entry fee for CPS members. Prize winning poems will be published in Long River Run .Send entries to Al Savard Poetry Contest, CPS, PO Box 270554, West Hartford, CT 06127.

Simultaneous submissions are okay. If a poem is taken by another venue, we would expect to be notified of that immediately so that it could be withdrawn from the CPS contest.

2010 Al Savard Judge: John Stanizzi teaches English at Manchester Community College and Bacon Academy. In 1998 The New England Association of Teachers of English named him The New England Poet of the Year. His books include Sleepwalking, Ecstasy Among Ghosts, and a chapbook called Windows.

WINNERS OF CPS CONTESTS ARE NOT ELIGIBLE TO WIN ANY CPS CONTEST THE FOLLOWING YEAR.

Judge for the 2009 Al Savard Poetry Contest was Charles Rafferty

 

The Conneticut Poetry Award

The Connecticut Poetry Award, honoring founders Winchell, Brodine and Brodinsky Formerly the BRODINE/BRODINSKY POETRY COMPETITION & WALLACE WINCHELL CONTESTS.

Open to all poets.

Submit poems: April 1- May 31 2010 (postmark)

Prizes of $400, $200, and $100. Send up to 3 unpublished poems, any form, 80 line limit. Include two copies of each poem: one with complete contact information in the upper right hand corner and one with NO contact information.Include SASE for results only (no poems will be returned). Winning poems must be submitted by disc or email following notification.Fee $15 for up to 3 poems. Please make out check to Connecticut Poetry Society.Send submissions to: [name of contest], CPS, PO Box 270554, West Hartford, CT 06127Prizes of $400 $200, $100 will be awarded.Winning poems will be published in Connecticut River Review. Send submissions to The Connecticut Poetry Award, CPS, PO Box 270554, West Hartford, CT 06127

Simultaneous submissions are okay. If a poem is taken by another venue, we would expect to be notified of that immediately so that it could be withdrawn from the CPS contest.

Judge for the 2010 CT Poetry Award Dana Sonnenschien will be judging the CT Poetry Award contest. She is the author of two poetry collections: Natural Forms and Bear Country, as well as two chapbooks.  She is a professor of English at Southern Connecticut State University.

WINNERS OF CPS CONTESTS ARE NOT ELIGIBLE TO WIN ANY CPS CONTEST THE FOLLOWING YEAR.

Winners of the Connecticut Poetry Award 2009

The Connecticut Poetry Society is pleased to announce the recipients of the 2009 Connecticut Poetry Award. From a large, very strong field of submissions, Judge Jack Bedell selected these poems:

 

1 st prize: “Moonshine” by Courtney Sender of Montvale, New Jersey

 

2 nd prize: “The Facts” by Pat Hale of West Hartford, Connecticut click here to view the poem

 

3 rd prize: “The Green Sweater” by Sharon Charde of Lakeville, Connecticut click here to view poem

 

Honorable Mentions : “Burnt Toast and Heavy Starch” by Loretta Diane Walker, “Punk Portrait” by Helene Pilibosian, and “The Foreclosure” by Lee Alexander

Mr. Bedell admired the first prize poem’s “sense of ambition and daring.” He went on to say that the poem showed “fresh language and a rare combination of fearlessness and accuracy. The leaps between movements are just brilliant…”

Second prize poem “ The Facts” demonstrates a “flawless marriage of memory-driven narrative and lyric beauty…the poet has a phenomenal sense of line and a consistency of tone…I was absolutely enthralled by the movement of the poem…”

“The Green Sweater,” Mr. Bedell said, managed to sustain “narrative rhythm in a short-lined poem…the language is pitch-on, and the focus (image-by-image) is exactly where it needs to be to keep the reader inextricably involved in the scene.”

Judge Jack Bedell is the Woman’s Hospital Distinguished Professor in the Humanities at Southeastern Louisiana University, where he also serves as editor of Louisiana Literature and director of Louisiana Literature Press. His most recent books are Come Rain, Come Shine ( Texas Review Press) and French Connections: A Gathering of Franco-American Poets (LaLit Press).

 

CPS CONTESTS: HOW ARE THEY JUDGED?

PROCESS FOR CHOOSING JUDGES

Judges are selected by the president in consultation with the contest chair and/or the board. Judges will be announced on the website and on flyers announcing contests. Judges receive a nominal stipend.

PROCESS FOR JUDGING

Each entrant sends in two copies of a poem: one with contact information and one without. The Contest Chair separates the poems and marks the anonymous copies with numbers. Judges are asked to name a first, second, and third place winner and may also select up to three honorable mentions. Winning poems are then submitted to the contest chair, who notifies winners and those who have submitted a SASE.

NUMBER OF ENTRIES

This varies widely, but in recent years between 50 and 120 different poets have participated in each contest, sending in up to three poems each. The DeCaro and Dehn contests typically get fewer submissions than the other competitions.

PUBLICATION OF WINNERS

The winners of the Connecticut River Review Contest, the Brodine/Brodinsky Contest, and the Wallace W. Winchell Contest are published in Connecticut River Review. Winners of other CPS contests are published in Long River Run. Although honorable mentions are not published, the poets' names and titles of their poems are printed.

RECENT JUDGES FOR CPS CONTESTS

Judge for 2009 Decaro Contest: Bessy Reyna is an opinion columnist for the Hartford Courant. Her poems and stories are found in U.S. and Latin American literary magazines and anthologies. Reyna’s latest book, The Battlefield of Your Body , a bilingual poetry collection, was released in June, 2005 by the Hill-Stead Museum

Brodine / Brodinsky Poetry Competition, 2007: Steve Straight, professor of English and director of the poetry program at Manchester Community College, author of The Water Carrier. Straight has directed the Connecticut Poetry Circuit and the Seminar Series for the Sunken Garden Poetry Festival.

Al Savard Memorial Contest, 2007: FAITH VICINANZA, published poet, photographer, literary events manager, and information technology consultant.

Connecticut River Review Contest, 2007: ELOISE BRUCE, author of Rattle (Cavankerry Press), active in organizations related to theater, poetry, education, and social justice.

Lynn DeCaro Contest, 2007: RAVI SHANKAR, Poet-in-Residence and Professor at Central Connecticut State University and founding editor of the online journal http:..www.drunkenboat.com. His first book of poems, Instrumentality (Cherry Grove, 2004), was a finalist for the Connecticut Book Awards.

Dehn Competition, 2007: NORAH POLLARD, author of two books of poetry, Leaning In and Report from the Banana Hospital (both published by Antrim House), and recipient of the Academy of American Poets Prize.

Wallace W. Winchell Contest, 2007: Vivian Shipley is the Connecticut State University Distinguished Professor and the Editor of Connecticut Review from Southern Connecticut State University. She has published five chapbooks and her seventh book of poems, Hardboot: Poems New & Old, (Southeastern Louisiana University Press, 2005) won the 2006 Paterson Prize for Sustained Literary Achievement and the 2006 Connecticut Press Club Prize for Best Creative Writ! ing. Sh e won the 2005 Lifetime Achievement Award for Service to the Literary Community from the Library of Congress Connecticut Center for the Book and the 2005 SCSU Faculty Scholar Award. Gleanings: Old Poems, New Poems (Southeastern Louisiana University Press, 2003) won the Paterson Prize for Sustained Literary Achievement and was nominated for the Pulitzer Prize. When There Is No Shore, also nominated for the Pulitzer Prize, won the 2003 Connecticut Book Award for Poetry from the Library of Congress Center for the Book and the 2002 Word Press Poetry Prize.

 

The Connecticut Poetry Society is pleased to announce the winners of the 2009 Connecticut River Review Poetry Contest. From a very strong field of submissions, Judge Brian Clements selected these poems:

1 st prize: “I’ll Know the Title Next Time I Hear the Train Whistle” by Mark Wagenaar of Charlottesville, Virginia

2 nd prize: “ Nome” by Jeanne Wagner of Kensington, California

3 rd prize: “How to Teach a Child about Death” by Amanda Auchter of Houston, Texas

Honorable Mentions: “Prequel to Genesis and the Missing Second Book: Coral Castle” by L. Christain, “A Shadow Denser than Night” by Robert J. Enright, “crow valley” by Elizabeth Myhr, “Subject Line: Rain is General” by Susan Holahan, and “Forgettery” by Kathleen Serocki.

Mr. Clements stated that first prize poem “ seduces with its depth of imagination, mythology of mind, and clarity of vision. The poem’s landscape… is lushly imaged, but also lushly aligned with the inscape, where distance and blossom and trains and a ringing bell all signal the simultaneous beauty and melancholy…”

His comments on the other winners: “ Nome ” succeeds, like John Ashbery’s “Instruction Manual,” by taking us in vivid detail to a place where the author or speaker is not and perhaps never has been…making quite present an absence, making us feel intimately the loss of a thing never held.”

“How to Teach a Child about Death” makes intimate and tender again a moment that verges on the cliché, the sentimental; but the poet’s alert attention to the body, whether living or dead, and to the things that grab the attention of the living--butterscotch, braids, a corpse’s stitched lip--keeps this poem vital…”

Judge Brian Clements is Professor of Writing at Western Connecticut State University and coordinator of WestConn’s MFA in Professional Writing. He edits Sentence: a journal of prose poetics and Sentence’s parent press, Firewheel Editions. His most recent books are Disappointed Psalms (Meritage Press) and And How to End It (prose poems from Quale Press).

Winners of this contest should find their prize money included with this notice. They are asked to submit the winning poems electronically to connpoetry@comcast.net so that they will be included on the web site and in the next issue of Connecticut River Review, which is sent free of charge to all CPS members. CRR is generally published in late summer, so look for it then. Additional copies may be ordered by sending a check for $10 (made out to CPS) to CRR Order, CPS, PO Box 270554, West Hartford, CT 06127.

Kudos to the winners and many thanks to all who entered; the level of the writing was high. You can find out more about our contests and publications at www.ct-poetry-society.org.

 

Poetry Critique Checklist

Before you send a poem somewhere consider these items:

Theme or Essence

What is the core truth of this poem?

Does it come across clearly? Is it memorable?

Would you want to read this poem again?

Could you imagine its meaning changing over time?

 

Story

Is there a clear story?

Too much? Too little?

Are there any parts left out? Is there something more you want to know?

Can the reader relate to the story on some universal level?

Does any part of the poem distract you, confuse you, or otherwise take you “out” of the poem?

Does the poem “show” instead of “tell”?

 

Length

Is the poem too long? Does it end before the end? Where?

Are there lines/stanzas that could be removed?

 

Imagination

Is there something new or fresh about the poem?

Does it use a novel image or analogy?

Are the images concrete, with sufficient detail?

What is the dominant feeling or emotion of the poem?

 

Meter/rhyme/word choice/line breaks/punctuation

How does the poem look on the page? Is it in balance? If not, is this purposeful?

Does the pacing serve the purpose of the poem?

Are there any words that are hard to pronounce, that stop the flow, or that you do not understand or recognize?

Are line breaks and punctuation consistent? Do they serve the purpose of the poem?

 

Music

Do the words flow musically, harmonically?

Does the poem use alliteration, repletion, etc. effectively?

Is the poem beautiful (or terribly beautiful)?

 

Complexity, novelty

Does the poem have range?

Is it clever?

Does it work on multiple levels?

Is there a turn, or surprise at the end? Is it effective?

Is the poem unpredictable?

 

INFO: Black Camera: An International Film Journal (The New Series)

Black Camera: An International Film Journal (The New Series)
   

Edited by Michael T. Martin

Published semiannually

    ISSN: 1536-3155
E-ISSN: 1947-4237

Black Camera is devoted to the study and documentation of the black cinematic experience and is the only scholarly film journal of its kind in the United States. It regularly features essays and interviews that engage film in social as well as political contexts and in relation to historical and economic forces that bear on the reception, distribution, and production of film in local, regional, national, and transnational settings and environments.
 
In addition, Black Camera includes research and archival notes, editorials, reports, interviews with emerging and prominent filmmakers, and book and film reviews and addresses a wide range of genres—including documentary, experimental film and video, diasporic cinema, animation, musicals, comedy, and so on. It challenges received and established views and assumptions about the traditions and practices of filmmaking in the African diaspora, where new and longstanding cinematic formations are in play. While its scope is interdisciplinary and inclusive of all of the African diaspora, the journal devotes issues or sections of issues to national cinemas, as well as independent, marginal, or oppositional films and cinematic formations.

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INSIDE VIEW
  Black Camera
VOLUME 1, ISSUE 1

 
Editor's Notes
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 1–4.
Citation | PDF (76 KB) | PDF Plus (76 KB) 

AFRICA


 
Cinemas of the Maghreb
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 5–29.
Abstract | PDF (196 KB) | PDF Plus (197 KB) 

 
Film and Trauma: Africa Speaks to Itself through Truth and Reconciliation Films
,
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 30–50.
Abstract | PDF (179 KB) | PDF Plus (179 KB) 

 
Trash and a New Approach to Cinema Engagé
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 51–69.
Abstract | PDF (163 KB) | PDF Plus (163 KB) 

CARIBBEAN BASIN


 
Caribbean Cinematic Créolité
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 70–90.
Abstract | PDF (178 KB) | PDF Plus (179 KB) 

 
The Emergence of Caribbean Feature Films
,
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 91–108.
Abstract | PDF (146 KB) | PDF Plus (147 KB) 

 
Moussa Sene Absa on finding Waru in Barbados
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 109–115.
Abstract | PDF (126 KB) | PDF Plus (126 KB) 

AT HOME (UNITED STATES)


 
The Urban-Rural Binary in Black American Film and Culture
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 116–135.
Abstract | PDF (249 KB) | PDF Plus (250 KB) 

 
Poster Gallery: Coming Attractions
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 137–138.
Citation | PDF (427 KB) | PDF Plus (427 KB) 

 
Interview: Charles Burnett—Consummate Cinéaste
,
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 143–170.
Abstract | PDF (591 KB) | PDF Plus (591 KB) 

 
Out of the Archive: Challenges and Opportunities for New Scholarly Access from Old Media Collections
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 171–185.
Abstract | PDF (401 KB) | PDF Plus (402 KB) 

BOOK REVIEWS


 
Stephen Bourne, Butterfly McQueen Remembered
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 186–188.
Citation | PDF (61 KB) | PDF Plus (62 KB) 

 
J. Ronald Green, With a Crooked Stick: The Films of Oscar Micheaux
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 189–191.
Citation | PDF (59 KB) | PDF Plus (60 KB) 

 
Edward Mapp, African Americans and the Oscars: Decades of Struggle and Achievement, 2nd ed.
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 191–193.
Citation | PDF (62 KB) | PDF Plus (63 KB) 

FILM REVIEWS


 
Gabe Chasnoff, Renaissance Village
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 194–196.
Citation | PDF (58 KB) | PDF Plus (58 KB) 

 
Archival News
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 197–201.
Citation | PDF (79 KB) | PDF Plus (80 KB) 

 
Professional Notes and Research Resources
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 202–212.
Citation | PDF (142 KB) | PDF Plus (143 KB) 

 
Notes on Contributors
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 213–215.
Citation | PDF (98 KB) | PDF Plus (99 KB) 

 
Call for Submissions
Black Camera: An International Film Journal (The New Series) Jan 2009, Vol. 1, No. 1: 216–217.
Citation | PDF (286 KB) | PDF Plus (286 KB) 

REVIEW: Book—White Egrets - Poems - By Derek Walcott > from NYTimes.com

Derek Walcott, Man of Many Voices

Published: April 22, 2010

More than almost any other contemporary poet, Derek Walcott might seem to be fulfilling T. S. Eliot’s program for poetry. He has distinguished himself in all of what Eliot described as the “three voices of poetry”: the lyric, the narrative or epic, and the dramatic. Since at least his 1984 book “Midsummer,” Walcott has been publishing what might be described as concatenated lyrics, individual poems numbered consecutively and intended to form a conceptual whole. His long 1990 poem “Omeros” would be called canonical were that word not so problematic these days. And, like Eliot, Walcott is also a playwright. Through his long connection with the Trinidad Theater Workshop, he has amassed an impressive body of dramatic works, both in prose and in that tricky form called verse drama.

_________________

Illustration by Joe Ciardiello

Derek Walcott

WHITE EGRETS

Poems

By Derek Walcott

86 pp. Farrar, Straus & Giroux. $24

_________________

But the kinship with Eliot, for Walcott, extends beyond genre. In his essay “Tradition and the Individual Talent” (1919), Eliot opined that “the more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates.” Walcott has deliberately avoided the confessional path pioneered by his early friend and supporter Robert Lowell, choosing instead a post-Romantic voice, closely allied with landscape, in which the particulars of a life are incidental to a larger poetic vision, one in which the self is not the overt subject.

All the more striking, then, is Walcott’s new book, “White Egrets” — for it is both visionary, in the best sense of that word, and intensely personal, even autobiographical. It is an old man’s book, craving one more day of light and warmth; and it is a book of stoic reckoning. That reckoning takes place on several levels: corporeal (coping with “the quiet ravages of diabetes”) and also social (the deaths of old friends and fellow poets; the commercial overdevelopment of Walcott’s native St. Lucia, described as “a slavery without chains, with no blood spilt”). This is a book of turning away from all that is modish in literature, from “the deliberate delight in incoherence, the whiff of chaos / off the first page of some new book” and toward his fit audience, however few, toward “You, my dearest friend, Reader.”

These poems do achieve an extraordinary intimacy of tone, but they also conjure, for that reader, a full spectrum of responses to mortality, from calm (“I reflect quietly on how soon I will be going”) through self-mocking (“What? You’re going to be Superman at seventy-seven?”) to something darker (“the pitch of para­lysed horror / that his prime is past”). And it is the calm that impresses most, after the disturbances of passion, as Walcott speaks of “that peace / beyond desires and beyond regrets / at which I may arrive eventually.”

“White Egrets” is also a reckoning with a lifetime’s artistic practice, a measuring of the self against immortals: Wyatt, Surrey and Clare among poets, and among artists (for Walcott is also an accomplished painter, though severe in his judgment of himself) Mantegna, Crivelli and Sarto, Hals, Rubens and Rembrandt.

Those names, in fact, are a reminder that Walcott has always challenged, by complicating, the attempt to dismiss Euro­centric culture and traditional poetic form as just the claptrap and legacy of imperialism. In this book he continues to tell the truth slant, frequently in sonnetlike poems that are never quite 14 lines long, in rhymes so casual as to appear, sometimes, clumsily improvisational and at others brilliantly opportunistic. One rhyme pair, “casuarinas” (referring to the cassowary tree) and “marinas,” appeared originally in a haunting paean to the poet’s ability to harmonize with nature in Walcott’s 1997 book “The Bounty,” and here recurs in a meditation on mortality that ends: “fear melts / before daylight’s beauty, despite all that coughing.”

On the one hand, Walcott writes that Europe “is poetry’s weather, this is its true home.” But on the other, he refers to Joseph Conrad as “that bastard” for his depiction of the “emptiness” of places like St. Lucia, and concludes proudly, “This verse / is part of the emptiness, as is the valley of Santa Cruz, / a genuine benediction as his is a genuine curse.” To be sure, Walcott’s love for his island is mediated through his knowledge of the larger world beyond its shores; he asserts that “This small place produces / nothing but beauty.”

And yet he is never in any doubt that his poetry depends absolutely on the inspiration provided by this one geographical spot among all others. Referring to the Irish poet, Walcott writes, “I’m content as Kavanagh with his few acres; / for my heart to be torn to shreds like the sea’s lace,” and again, in deep humility, “my love of the island has never diminished / but will burn steadily when I am gone.” These poems are often close to prayer. Allegiance to, and gratitude for, the world’s beauty are both the least and the greatest tribute a writer must pay, in Walcott’s view. For a poet of his seniority to write “The perpetual ideal is astonishment” is a wonder, like George Herbert’s desire, after his spirit’s tempest, to “once more smell the dew and rain, / And relish versing.”

For all this new book’s awareness of one geographical location, its true achievement lies in what we might call a pelagic poetic consciousness. Walcott is, in some way, “homelessly at home,” as Richard Wilbur once said. The mind of these poems exists simultaneously in St. Lucia and in Sicily (after all, St. Lucy — the patron saint of light or vision — came from the Italian city of Syracuse); in a harbor that is at once Rodney Bay, Venice and Stockholm; under a mountain that is both the Petit Piton and the Matterhorn. This is the simultaneous vision that allowed Walcott’s epic “Omeros” to range so effortlessly across the Atlantic Ocean and to exist in the Old World and the New, though in this late work the tide pulls strongly eastward: “if the soul ever rests, / its next beach will be Dakar.” Pronouns in this book — “you” or “she,” for instance — are haunted and polyvalent, referring to a particular past erotic partner and to the muse of poetry herself; but the predictability of this equivalence is dignified by time and loss.

What of the white egrets of the book’s title? They are “abrupt angels,” “the bleached regrets / of an old man’s memoirs,” and “torn poems.” They are ghost-birds, emblems of self-devouring introspection and resolute survival, of accepting that “At least the grief I felt was my own making.” And for this poet who has, by a lifelong act of imagination, contemplated so many opposites assumed to be irreconcilable, they are perhaps a symbol of unity at last, allowing him to end with an ordinary beatitude:

                                                Happier
than any man now is the one who sits drinking
wine with his lifelong companion under the winking
stars and the steady arc lamp at the end of the pier.

_____________________

Karl Kirchwey teaches at Bryn Mawr College. His sixth book of poems, “Mount Lebanon,” and his translation of Paul Verlaine’s first book, “Poems Under Saturn,” are both forthcoming in the spring of 2011.

=====================

An Afternoon with Derek Walcott

01 May 2010

An Afternoon with Derek WalcottPerformance Time: 15:00
Venue: Lakeside Theatre

 

The University of Essex is proud to present Visiting Professor of Poetry Derek Walcott. 

In the first visit of his two-year appointment to the post, the Nobel prize-winning Caribbean poet will be in conversation with Professor Marina Warner and Dr Maria Cristina Fumagalli of the Department of Literature, Film and Theatre Studies. This afternoon, Derek Walcott will be looking back at more than sixty years of writing, painting, theatre directing and teaching, as well as reading from his latest volume of poetry, White Egrets.

"In these exquisitely poised and potent poems, language stands as the thinnest possible lens between the poet and the world he describes..."

The Guardian on White Egrets

Tickets:
Admission Free. Please reserve in advance.

Booking information:
Ticket Hotline: 01206 573948
Book Online: Online booking is currently being updated.
In person: Lakeside Theatre, Square 5
Monday – Friday 8.30 – 4, Saturday 10 – 2

Mercury Theatre, Colchetser, England
Mon – Saturday 10- 8