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    The Interstitial Arts Foundation is a not-for-profit organization dedicated to the study, support, and promotion of interstitial art: literature, music, visual and performance art found in between categories and genres – art that crosses borders. Find out more!

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    Thanks to 277 generous backers for our Interfictions Indiegogo Campaign, we raised $10,318 by the time our campaign ended at midnight, July 14th, 2014.  When we launched on June 3rd, we were staggered to find donations doubling almost daily, until after about 3 weeks we had reached our original target goal of $8,500, and were able to move on to our Stretch Goal of $10,000.

    Which means we not only get to publish Interfictions Online for another year, but we can pay our contributors at higher rates now, rates more in line with the effort and talent that innovation requires. Thank you, each and every one of the 277 generous donors who stepped forward to say that interstitial art is valued and valuable. The number of people is as important as the number of dollars raised. We are awed by your generosity.
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    INTERFICTIONS issue #3 is up online!

    The editors of Interfictions Online are happy to announce the birth of the journal’s latest issue, on May 22, 2014!

    The Spring 2014 issue’s non-fiction offerings include Mark Craddock’s poignant collage in Aerial Acrobatics and Gender Reassignment Surgery – A How-To Guide, while Inda Lauryn’s Parallels and Transitions splices analysis of contemporary female vocalists into a graduate school memoir. Isabel Yap’s Life Is Not a Shoujo Manga speaks for itself. And in an interview with Jeff VanderMeer and Jeremy Zerfoss, the two creators discuss their illustrated guide to writing, Wonderbook.

    The fiction offerings remix tropes from ghosts to automata, with new work by Richard Butner, Su-Yee Lin, Kat Howard, Tade Thompson and S. Craig Renfroe Jr.

    Several of the poems in this issue reimagine older narratives: Sridala Swami’s AI Winter draws on the Mahabharata, Sonya Taaffe’s Double Business on Hamlet, and Mary Alexandra Agner’s Hypothesis Between Your Ribs on the brief life of Charles Darwin’s daughter.


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  • Meet the IAF: Ellen Denham
    by mallen | March 9th, 2011 |

    (Eds. note: Continuing our series of profiles of IAF people, Ellen Denham is a member of the IAF Working Group. Previous profiles in this series have included Cecil Castellucci, Matthew Kressel, Mike AllenChristopher BarzakLarissa N. NiecStephen H. SegalFelice KuanWendy EllertsonDeborah AthertonErin UnderwoodEllen KushnerDelia Sherman and Geoffrey Long.)

    Who are you, and what do you do?

    I’m Ellen Denham, primarily a classical singer and voice teacher, though I also write and direct. I live in Indianapolis with one husband and two cats. I’ve loved to sing since I was a wee thing and studied opera at the North Carolina School of the Arts and the New England Conservatory of Music. Since then, I’ve appeared in numerous performances, mostly in Baroque oratorio and in opera. I’m an avid reader and writing has been a long-time hobby. I started to take my writing seriously in the early 2000′s when I began work on a ballet libretto that turned into a critically acclaimed production, “The Willow Maiden,” performed by the Butler Ballet in 2003 in collaboration with my husband, Stephan Laurent, Artistic Director, composer Frank Felice, and numerous designers, dancers, and musicians. I attended the Odyssey Writing Workshop in 2006 and have had a few stories published since then. I’ve continued to write for the stage, including a definitely-not-for-children one-act opera, “Peter, Peter Pumpkin Eater,” performed at the Indy Convergence in 2009, and this year I’m working on a musically improvised opera based on my short story “Homo Homarus–” a gender-bending twist on the Little Mermaid/Rusalka-type fairy tale.

    What first attracted you to the interstitital arts?

    I’ve never liked feeling boxed in by labels. I kept my music and my writing in separate compartments for years until I combined the two interests working on the ballet, and since then I’ve never stopped. When artists cater to a perceived desire of an audience (to fit into a narrow sub-genre, for example), their work may become stale and creativity can be stifled. When I have a crazy idea, I like to ask myself, “why not?” rather than assume it’s too weird or not doable. Classical music is, by and large, a conservative art. I’m not a conservative artist. While I love singing Bach or Mozart as much as anyone, I’m attracted to experimental forms and improvisation. When I heard [IAF co-founder] Ellen Kushner talk about the IAF salons, I emailed to ask how I could start one in my city. I suddenly found myself delegated, and have been hosting the Interstitial Indy salon since early 2010.

    How do you consider your work interstitial?

    Ellen performing in the Indianapolis Opera's production of 'Falstaff'

    Much of what I write in terms of short story or novel projects falls into the broad category of fantasy and isn’t terribly interstitial, and the singing that “pays the bills” is usually pretty traditional too. I feel the interstitial part of my work comes when I collaborate with other performing artists on something I’ve written. I do my most interstitial work at the Indy Convergence, where I’ve participated for the past three years. It’s a great place for artists to come together across artistic disciplines and learn from each other and just play with new ideas. My teaching is interstitial as well. I use elements of tai chi, yoga, improvisation, and just about anything else that works to help students find and improve upon using their voices. This is exciting work and I’m lucky to get to have so much fun for a living.


    Ellen Denham’s interview with Indy Convergence founder Caitlin Swihart appears on the IAF blog March 10th, 2011.

    finish line

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