Past
Grantees

MIKE P. NELSON, Robbinsdale, received support for The Domestics, a twelve episode web-based narrative series. On the verge of his wife losing her will to live, a Midwestern husband fights to maintain a domestic home life for her after the collapse of society. It is a story of love, violence, resilience, and Americana that captures the relationship of a husband and wife amidst desolation. Living in a world now ravaged by gangs, cannibals, psychotic survivalists, and cults, the couple is reminded of why they fell in love in the first place. When the husband is severely injured, his suburban housewife must abide by the rules of the newly abrasive world in which they live and do whatever it takes to protect her family and way of life. Episodes one and two of the series are already complete. The remaining ten episodes are yet to be accomplished, with each episode clocking in around 8-12 minutes in length. Nelson’s plan is to build an audience and following for the series on the popular website, Twitchfilm.com and eventually post the series on the internet.

ANDREW NAM CHUL OSBORNE, for Daddy Don’t Go, a feature-length documentary that follows the tough but tender journey of four disadvantaged fathers – Alex, Nelson, Roy and Omar – as they struggle to navigate parenthood. Filmed over the course of 18 months, Daddy Don’t Go captures the crucial father-child relationship without censorship. The film poses urgent questions that expand the ongoing national dialogue concerning fatherhood. Can a man be a good dad in spite of not being a great provider? Why do some men leave while others stay? For disadvantaged men, parenting is a daily decision. Many men with low to no income aren’t able to manage their frustrations and walk away from the responsibility. But the fathers in Daddy Don’t Go continually choose to be present for their children and by doing so, open a broader dialogue about the importance of fatherhood itself.

JESSE ROESLER, Minneapolis, (previous recipient) received support for The Taste of Place, a feature-length documentary. From Vermont maple syrup to Yukon River salmon, some foods are what they are because of where they’re from. A cinematic odyssey through North America’s most dramatic and diverse landscapes, The Taste of Place explores the symbiotic relationships between humans, plants, animals and the environment as they bring something utterly unique into this world - and why many of these inimitable foods are becoming threatened. Why does honey from the banks of the Apalachicola River have a kick of cinnamon unlike any other? Why is salmon from the Yukon River the richest in the world? Why does one cave in Greensboro, Vermont, produce so many of the world’s most intense cheeses? The answer is terroir, or the taste of place. Originally used by the French to describe the way local conditions such as soil and climate affect the flavor of a wine, terroir has been overlooked (and often mispronounced) by Americans. Not for much longer. For those who have embraced the local and artisan food movement, the concept of this film will showcase the natural landscape and illuminate why place matters to what we eat. It will be a cinematic guide to the "flavor landscapes" of some of our most iconic foods: honey, maple syrup, coffee, oysters, salmon, wild mushrooms, cheese, and chocolate.

DUSTIN M. ROSEMARK, Rochester, (previous recipient) received support for Looking At: Looking Into, a series of six silent, two-minute experimental films on the subject of Mediated Voyeurism, the act of consuming voyeuristic content through means of a third party, most typically through a mass media outlet such as television, radio, newsprint, or the internet. Each of the six films will be a different vignette in the lives of everyday people. None of the stories or characters are related, save for their voyeuristic nature. Each film will be presented inside a Mutoscope, an exhibition device from the earliest days of cinema. Mutoscopes are fundamentally voyeuristic objects and present content differently than a television or movie screen. By presenting stories told in a voyeuristic fashion through Mutoscopes, filmmaker Rosemark hopes to compel the viewer to examine his or her own relationship with Mediated Voyeurism. The overall message of Looking At: Looking Into is a commentary on how the proliferation of voyeurism through contemporary mass media affects our lives.

MARK ELIJAH ROSENBERG received support for Approaching the Unknown, a feature-length drama about Captain William D. Stanaforth, an astronaut on a one-way mission toward the unknown. A month after the first NASA spaceship bound for Mars explodes, Captain Stanaforth is alone aboard a spaceship awaiting his own launch. With the eyes of the world watching, knowing he’ll never again see Earth, but steadfast in his commitment to the mission, Stanaforth launches on a one-way mission to Mars. His only hope for companionship is Captain Emily Maddox, who is on her own Mars-bound solitary journey. Initially, she has no time for camaraderie—but when her ship’s navigation goes haywire and her life hangs in the precarious balance of space, Stanaforth risks his life in a daring remote rescue, saving Maddox and gaining a confidante. He wrestles with isolation and mental anguish, questioning the very purpose of the mission even as he tries to hide the ship’s problems and his own weakening condition. Meanwhile, Maddox loses course without enough fuel to get back to where she needs to be, and drifts off into the abyss. Given this crisis, Stanaforth is faced with what it means to be a hero, or to complete his mission no matter the cost.

DAVID SAMPLINER, for the feature-length documentary My Own Man. David Sampliner, the maker of this film is 40 years old, but he still doesn’t feel like a man – not a real man anyway. When his wife becomes pregnant with a boy, David’s manhood insecurities deepen. How can he bring his son into manhood if he feels so estranged from his own?  This question sets him off on a quest for his manhood that leads him from voice lessons to a men’s group to deer-hunting, and ultimately back to his own father. My Own Man is an intimate, humorous, and emotional account of one man’s search for what it means to be a man and a father in the 21st century. Through My Own Man the filmmaker hopes to play a role in encouraging the male equivalent of feminist “consciousness raising,” inspiring those who accept the reality of gender equality and see this moment in time as an opportunity for men to discover new ways of relating to themselves, to women, to their sons and daughters, and to themselves.

JUSTIN SCHEIN received support for The Last Go Round, a feature-length documentary about filmmaker Justin Schein’s friendship with aging anti-war Yippie peace activist, Mayer Vishner, whose last political act was to take his own life. Schein began filming with Mayer in order to learn more about the life and beliefs of this man who was struggling to get by, but still clinging to his ideals. When Mayer announced on camera his plan to kill himself, the dynamics of the film radically changed. What began as Shein’s simple curiosity about Mayer’s intellect, and the rebellious, irreverent legacy of his countercultural generation, turned into a dark yet profoundly humorous exploration of what Mayer called “My Existential Project.” Mayer repeatedly told Schein that he was “dying of loneliness,” and Schein believed him. But the only way to truly visualize this was to put up a camera in his house. Schein filmed many days and nights of Mayer alone, drinking, smoking his bong, sleeping, pacing, and watching TV. When Mayer went to his long-time physician to ask for help in carrying out his suicide, Schein was there filming the discussion. When he went to his weekly therapy sessions, Schein was permitted to film. From putting on his adult diapers to being staggering drunk, he allowed Schein to film anything and everything. When he finally told Schein that he planned to take his own life, he assumed Schein would be a partner in that project as well––a role Schein struggled with and questioned. He even wanted Schein to film his death, a line that Schein would not cross. Even so, in the end it was Schein who discovered Mayer’s body. A year after Mayer's death, Schein is left with intense feelings and questions, which he continues to process and explore in the production of this powerful film.

PATRICK’S CABARET, Minneapolis, Minnesota, as fiscal sponsor for choreographer Chris Schlichting, received $10,000 in support of the creation, production, and touring of the new work Stripe Tease. Patrick’s Cabaret supports artists in their growth and development by encouraging artists of all experience levels to try new things, take risks, or present works-in-progress. Schlichting is creating a contemporary dance work that is part experimental music, part cultural critique, part rock opera, part visual art, and part contemporary performance for six dancers. The new work will examine how once pure and unselfconscious acts of consumption and appreciation are now complicated negotiations. It enlists sly twists that alter expectations and understanding of the familiar and the everyday.

AARON SCHOCK received support for La Laguna, a feature-length experimental documentary about a young Mayan boy’s education as he navigates two different worlds and identities: between the Mayan world of forest and field, and the world of contemporary Mexico that lies just a bit beyond his reach. Raised within a small forest village in the Mexican state of Chiapas, Yuk has impressively mastered a way of life forged within the natural world from a base of knowledge learned from family and community. There, he harpoons fish for his family’s daily meal, gathers seeds, nuts and fruits from the forest, tends to his family’s agricultural plot, and is responsible for caring for and educating his 8-year-old younger brother. While the forest provides for many of Yuk’s immediate needs, his future outside this village depends on his ability to become literate in Spanish. Yet for Yuk, the concept of Mexico is largely a distant one, experienced mainly through a one-room classroom and its non-Mayan teacher from outside his village. In contrast to the kind of experiential learning he has had in the forest and fields, this new way of learning so greatly challenges Yuk that failing is a real possibility. As the oldest son of an elderly father, and brother of a sick sister in need of medical attention, the pressure is on for Yuk to succeed in school and provide for his family. Blending genres of ethnography, documentary, and experimental film, YUK immerses the viewer in a way of life and learning that, deeply tied to the natural world, is increasingly rare in modern human experience.

JAMES SEWELL BALLET, Minneapolis, Minnesota, received $8,625 in support of a production showcase featuring new works by emerging Minnesota-based choreographers within the 2014 Dance/USA Annual Conference held in Minnesota. Ballet Works served as the fiscal sponsor for the Minneapolis host committee. Dance/USA is the national service organization for the professional dance field, a membership entity currently serving nearly 500 companies, service and presenting organizations, individuals, and related organizations. It sustains and advances professional dance by addressing the needs, concerns, and interests of artists, administrators, and organizations.

JACKIE J. STONE received support for Burning Angel Dust, a narrative short in which the central character, Mimi, a Nigérienne-American mother and immigrant, struggles to maintain a connection for her and her American born daughters to their native Nigér. Caught between her mother's expectations and the culture of her adoptive homeland, Mimi must decide to have her eldest daughter undergo a traditional rite of passage, genital cutting, or allow her children to fully embrace American life. The two cultures collide on the day of Violet's traditional coming out celebration. Violet is excited, thinking the ceremony will be like a birthday party. Mimi is conflicted, having kept the most gruesome details of the celebration from Violet. The day unfolds and slowly Violet discovers that something more will happen to her with only one person, her mother, having the power to stop it. Caught in the middle, Mimi must decide to either continue to practice her cultural ritual or allow her daughters to fully assimilate into American culture.

SPRINGBOARD FOR THE ARTS, St. Paul, Minnesota, as fiscal sponsor for SuperGroup, Minneapolis, Minnesota, received $8,000 in support of the development and production of the new work In Which _______ and Others Discover the End . Springboard is an economic and community development organization for artists and by artists. Its mission is to cultivate vibrant communities by connecting artists with the skills, information, and services they need to make a living and a life. SuperGroup is a performance collaboration of Erin Search-Wells, Sam Johnson, and Jeffrey Wells. It produces a range of performance, from durational structured improvisations to cabaret-style drag to highly layered works for stages. In Which _______ and Others Discover the End is a new dance-theater work investigating the paradoxical human need for stasis and change. Improvised and choreographic movement, song, and text born out of collaboration between SuperGroup and playwright Rachel Jendrzejewski. The performance of the work includes individual durational solos and visual installations in public spaces throughout Northeast Minneapolis.

HEATHER TENZER received support for the feature-length documentary The Rabbis’ Intifada. Heather Tenzer first met the ultra-Orthodox rabbis of Neturei Karta when she was a 13-year-old yeshiva (religious school) student. The rabbis were protesting the Israel Day Parade in New York City, in which she was marching. She was perplexed. Why would a Jew demonstrate against Israel? Neturei Karta (Aramaic for “Guardians of the City”) is one of the only religious Jewish groups publicly speaking out in support of Palestinian rights. The group, which was founded 75 years ago in Jerusalem, opposes Jewish nationalism in general, and the state of Israel in particular. The reasons are many, but perhaps at its heart, the group opposes the idea of transforming the Jewish religion into a nation state. For them, Israel—with its army and government—is a form of idolatry. Today, they openly call for Israel’s peaceful dismantlement. As a result of their activism, Neturei Karta rabbis are regularly beaten on the streets. Their synagogue was recently destroyed by arson. And in the 1920s, one of their leaders was assassinated in Jerusalem. Neturei Karta is deeply hated by the Zionist Jewish establishment. In fact, a few months ago, one of the most prominent American Jewish organizations, the Anti-Defamation League (ADL) included Neturei Karta on its list of top ten anti-Israel groups in the US. The Rabbis’ Intifada is a feature-length documentary film, which combines cinéma vérité, first-person narration, home movies, interviews, news reports, and archival films to tell the story of the filmmaker’s journey into the world of Neturei Karta.

ELA THIER received support for Tomorrow Ever After, a feature-length science-fiction comedy. Shaina is a historian who lives in the year 2592. Humans, at this point, have cleaned up the planet. War, poverty, pollution, greed, exploitation, depression, loneliness - these are things that she’s read about in history books. She has studied this dark period of history, in which most human labor was organized in the service of profits rather than human needs. But she has never, in the flesh, seen human beings hurt other human beings...until now. While getting involved with a group of physicists who experiment with time travel, Shaina accidentally ends up stranded in the year 2014. Despite her knowledge of history, old habits are hard to break, and she assumes that everyone around her is honest, generous and caring. When a character named Milton attempts to mug her, Shaina is thrilled to find someone who is willing to talk to her. Thrown by her trust and warm affection, Milton’s life slowly transforms as Shaina insists on a continued relationship of mutual support. Through Milton, Shaina meets a colorful cast of hilarious and tragic characters, as she tries to recruit their help to get back home. Shaina is heartbroken by her new understanding of what humans in this period of time had to live through. Ultimately, however, she fills with awe and gratitude. What kind of resilience and courage did it take, she wonders, for humanity to have hauled itself through this dark and thorny journey, and lead itself out of its state of despair, to build the world in which she was born?  

JINY UNG received support for Tofu Riot, a 2D animated short film about the stressful life of Tofui, a beancurd. Tofui is a symbol of the city, an aggressive, stressed-out workaholic who wants a promotion. In this animated piece, we follow Tofui as it struggles to survive in a busy city filled with gender ambiguous fruits, vegetables and legumes.

MISSY WHITEMAN, Garrison, received support for The Coyote Way: Going Back Home, a narrative short in which reality and ancient lore merge into a vivid and surreal odyssey for Charlie, a boy who is faced with a choice, which will lead him on a time traveling quest to reclaim his birthright as Coyote the Trickster. Coyote represents the deepest darkness that lives within. He is the spirit that rides on the wilds of our dreams, unfurled by the wind. He is the laughter and the joy of new life. Ancient Native American stories telling of Coyote's escapades have been passed down from generation to generation by elders and story tellers, with each telling giving him a renewed life in the imagination of children. In this story, which is the second installment of a three-part Coyote trilogy, Charlie is confronted with a series of incidents and moral dilemmas in his life that are influenced by Coyote the Trickster, and from which he can emerge a better human being or a person in moral and spiritual decline.

LEWIS WILCOX, JAMES CHRISTENSON, ELIOT POPKO, and JONAH SARGENT, Saint Paul, received support for NODAK, a feature-length documentary about the transformation of North Dakota from a desolate flyover state into one of the world’s largest oilfields. The film also explores the desperation and greed beneath the surface of oil fracking, exposing the human costs and risky business model threatening to spread throughout the country. CBS news anchor Eric Sevareid referred to North Dakota as “A rectangular blank spot on the nation’s consciousness.” National Geographic dubbed it “The Emptied Prairie.” The New York Times declared it “Not Far From Forsaken.” Whatever the headline, the state faced depopulation and desertion throughout the 1990s and 2000s. Faithful community boosters like two of the film’s primary characters, economic developer Tom Rolfstad and newspaper publisher Cecile Krimm, attempted for years to attract new citizens without success. In 2006, the situation changed almost overnight. With advances in the controversial new drilling method known as fracking, oil companies unlocked an exponential expansion of the Bakken Oil Fields, setting in motion one of the largest resource extraction rushes in human history and placing North Dakota at the center of economic and population growth in the United States.  As money pours out of the Bakken – and other states and countries debate whether or not they should import North Dakota-style fracking into their lands – NODAK takes its viewers on an intimate journey alongside newcomers investing their future in the region and civic leaders like Rolfstad and Krimm struggling to manage the frenzy. Their stories unfold and intertwine over the course of two years of filming, revealing pie-eyed ambition, overnight fortunes, shocking corruption, and dreams deferred. Viewers will be challenged to separate myth from reality to question whether the Bakken shale boom is an economic miracle or a dangerous financial and social gamble, and whether North Dakota is America’s new high water mark or its canary in the coalmine.

THE PLAYWRIGHTS’ CENTER, Minneapolis, Minnesota, as fiscal sponsor for WORKHAUS PLAYWRIGHTS COLLECTIVE, Minneapolis, Minnesota, received $15,000 in support of the productions of new works by playwrights Joe Waechter and Stanton Woods. The Playwrights’ Center champions playwrights and new plays to build upon a living theater that demands new and innovative work. Workhaus Collective creates a direct and immediate relationship between playwright and audience by fully producing original plays under the artistic leadership of the playwright. Since its founding in 2006, it has produced 17 world premiere productions. Waechter’s work Lake Untersee, to be produced in 2014, addresses the challenges of fractured families and artistic blocks. It is through language that the protagonist and his family learn to break free, connect, and find love. Woods is developing Skin Deep Sea, a fairytale that explores the distinctively American inclination for transformation and reinvention through the medium of fantasy, specifically the Victorian futurism of steampunk.

SUSAN YOUSSEF received support for Marjoun and the Flying Headscarf, a feature-length narrative film. With her father imprisoned on terrorist-related charges, an Arab-American teenager in Arkansas searches for identity in the headscarf and a motorcycle. The rider is Marjoun: seventeen, small in stature, large dark eyes. She is dressed in all black from her shoes to her headscarf. The headscarf is held together with metal safety pins, lining the right side of her head, towards the nape of her neck. The scarf flaps in the wind as she rides into a James Dean inspired quest for her identity. In Marjoun and the Flying Headscarf, she is left cleaning up the mess in the household after her father Aabid’s life as a convenience store owner transforms into the life of a prisoner. As her choices get more limited, and as the world around her identifies her as a Muslim, she comes to explore her relationship with God, and specifically her relationship with Islam through the hijab. In this film, Marjoun is featured as a ‘liberated’ muhajiba who takes her life into her own hands. The filmmaker hopes this unorthodox approach to telling the story of a young Arab-American teenager will help change how non-Muslims perceive the often misunderstood hijab.

THE FIELD, New York City, as fiscal sponsor for choreographer LUCIANA ACHUGAR, Brooklyn, New York, received $10,000 in support of the development and production of Otro Teatro.  Founded by artists for artists, The Field is dedicated to providing strategic services to performing artists and companies in New York City and beyond.  It fosters creative exploration, stewards innovative management strategies, and helps artists reach their fullest potential.  achugar’s work exposes the viewer to the unavoidability of the body and consequently arrives at dancing as a necessary and unquestionable act, as catharsis and/or celebration.  Her work pays homage to the classical forms of dance and theater that continue to be relevant, yet questions a civilized standard of beauty and order that puts the body under the tyranny of the intellect.  Otro Teatro examines the role of dance as a form within the context of theater, proposing another kind of theater, a theater of the other, giving voice to the arcane spirit, instincts, and desires of bodies.