ABOUT THE INSTRUCTOR: Sarah A. Chavez,a mestiza born and raised in the California Central Valley, is the author of the poetry collections, Hands That Break & Scar (Sundress Publications, 2017) and All Day, Talking (dancing girl press, 2014). Her new project, Halfbreed Helene Navigates the Whole received a 2019-2020 Tacoma Artists Initiative Award. Chavez teaches creative writing and Latinx/Chicanx-focused courses at the University of Washington Tacoma, serves as the poetry coordinator for Best of the Net Anthology, and is a proud member of the Macondo Writers Workshop. Recent work can be found or is forthcoming in Xicanx: Mexican American Writers of the 21st Century, Diode, & Hotel Amerika. She recently finished a fifteen-day poetry marathon which left her heart-wrung and breathless.
ABOUT THE INSTRUCTOR: Gloria Muhammad is a writer, teaching artist, and educator. Currently a paraeducator, she has worked with young people and adult learners in various educational settings. As a writer, Gloria is inspired by spirituality, everyday life, nature, music, and cinematography. She is a graduate of Washington State Teaching Artist Training Lab and is excited to host virtual writing workshops rooted in healing and personal development. Drop her a line: firstname.lastname@example.org / Instagram: @whoisgloriajoy.
Writing in the Dark: Re-imagining Possibility in Crisis
ABOUT THE INSTRUCTOR: Ever Jones(they, them) is a queer/trans writer and artist who teaches creative writing at the University of Washington in Tacoma. Their artistic work is interested in unraveling oppressive social structures, while their personal work is interested in snuggling in front of the TV. Their poetry collection, nightsong, was recently published by Sundress Publications and you can find their work everjones. com.
ABOUT THE INSTRUCTOR: Beverly Naidus was an angst-ridden teen when she first started writing. One of her first poems was published in a now-extinct Irish literary journal. Strangely enough, she never studied writing (rhetoric) in college (Carleton College), but she did take inspiring courses in Black Literature and contemporary poetry. By the time she had finished grad school, receiving an MFA in Intermedia (Nova Scotia College of Art & Design), she was combining her passion for words with visual art making. Whether she was scrawling texts on the walls of galleries, sketching words next to images on paper, designing artist’s books with rhythmic texts, or scripting the audio loops of installation pieces, language has played a key role in her work. Laurie Anderson was one of her mentors in grad school, urging her to record her texts about the nightmare of nuclear war on multi-track tapes. In the mid-1980s, she began writing non-fiction essays about her experiences teaching art for social change and healing and published them in magazines and journals. She was encouraged to write a book about her unique interdisciplinary studio arts curriculum at UW Tacoma, and despite the dread of writing a book, she discovered that writing a series of letters to her younger self helped her jump that hurdle. Arts for Change: Teaching Outside the Frame (New Village Press, 2009) is part memoir, part theory, part history, and a digest of other artists’ stories. It includes an allegorical fable that came to her in a series of dreams. Her most recent non-fiction pieces discuss the role of the eco-artist and ways that art can reimagine the world. During the pandemic, she has been waking up at dawn with phrases pouring out of her, so she’s taken up writing poetry again. For some examples of her writing, check out her website: http://faculty.washington.edu/bnaidus/published_writing.html.