A Masters of Craft Talk with Sharon Bridgforth
Date & Time: Wednesday, July 27th, 2022 | 7:30 PM ET
Duration: 1.5 hours
Tuition: $30
Capacity: Limited. Seats are filled on a first-come, first-served basis.
Date & Time: Wednesday, July 27th, 2022 | 7:30 PM ET
Duration: 1.5 hours
Tuition: $30
Capacity: Limited. Seats are filled on a first-come, first-served basis.
Date & Time: Wednesday, July 27th, 2022 | 7:30 PM ET
Duration: 1.5 hours
Tuition: $30
Capacity: Limited. Seats are filled on a first-come, first-served basis.
ABOUT THE CRAFT TALK — Stirring da Roux
The goal of this workshop is to deepen our ability to fully embody, and manifest our artistic vision by doing the work of unearthing/examining/and articulating our identities-cultures-memories-families histories-dreams, and the socio-political realities of our lives.
ABOUT THE MASTER STORYTELLER:
A Doris Duke Performing Artist, Sharon is a writer that creates ritual/jazz theatre. A 2020-2023 Playwrights’ Center Core Member and New Dramatists alumnae, Sharon received support from Creative Capital, MAP Fund and the National Performance Network. An Urban Bush Women Choreographic Center Initiative’s Choreographic Fellowship program dramaturge, Sharon has served as a collaborator for Ananya Chatterjea's Ananya Dance Theatre. Widely published, Sharon is author of love conjure/blues and the Lambda Literary Award winning the bull-jean stories. Sharon's dat Black Mermaid Man Lady/The Show, which premiered at Pillsbury House Theatre is streaming on the Twin Cities PBS Platform.
Partial and full scholarships available. To inquire, email Info@RootsWoundsWords.org. Explicitly state which scholarship (partial or full) you’re interested in.
Closed captioning is provided. Like all RWW offerings, this space is for Black, Indigenous, Latinx/e, Asian, and other Storytellers of Color only. BIPOC Storytellers are centered here, exclusively.
This program was funded in part by Humanities New York with support from the National Endowment for the Humanities. Any views, findings, conclusions or recommendations expressed in this program do not necessarily represent those of the National Endowment for the Humanities.