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  • About the IAF

    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!

  • Latest IAF News

    IAF INTERFICTIONS ONLINE INDIEGOGO CAMPAIGN ends above target goal

    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.
    Now [...]

    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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  • ≡ Performance Arts

    Like musicians, performers are natural boundary crossers, taking their performances to all parts of the world. While many performers, actors, and troupes have repertoires where they feel most comfortable, that doesn’t stop them from seeking new plays, new theatrical conventions, new combinations of performance materials that re-imagine old genres and create startling productions. The theater moves into the streets, East meets West in Japanese Kabuki performances of ancient Greek dramas, and actors find new voices with which to speak ancient words anew. Masks and Puppets, international tales, and new forms of acting all become part of the interstitial toolkit.

    On these pages contributors present an ongoing selection of performers and troupes, old and new; some well known and some whose very interstitiality may have kept them from the public limelight.

    L. Frank Baum

    DEBORAH ATHERTON, 2010

    “Since we don’t have a YouTube video of this performance, which I suspect even today, with all our sophisticated expectations of people transcending genre and melding a variety of media, would be a lot of fun to attend, we will have to use our imaginations.  We’ll have to picture ourselves sitting in one of the beautiful, highly gilded opera halls that dotted up in the oddest places in America, from South Dakota and Kansas to the northernmost reaches of Maine, while the handsome man in the white suit introduced us with his smooth voice and salesman’s skill to the Scarecrow, and the Tin Woodman, and the Cowardly Lion, as the orchestra played.  He would offer his hand to each of the characters, standing immobile in a reproduction of one of the lush color illustrations of his work, and they would step off the page to meet us and talk and sing with each other on stage.”

    Center for Contemporary Opera

    DEBORAH ATHERTON, 2010

    “If ever there was a genre with highly specified borders and devout artists and audiences guarding them, it is opera. In the popular mind, at least, opera is sung in German or Italian or French on grand stages like the Met to people dressed in tuxes and evening gowns peering through opera glasses… Of course, it’s been a long time since that was the only kind of opera in town, and there have been a number of great American operas in the last 100 years, but the question of what is real opera, what is music theater, what is performance art, and what is all this other stuff, persists enough in the field so that when a small company like CCO defines itself, it is still obligated to explain that yes, it is offering that wildly innovative thing, contemporary opera in English.”

    The Flying Karamazov Brothers

    DELIA SHERMAN, 2010

    “They’re not brothers, in case you’re wondering. And they don’t fly. They juggle – mostly with plastic pins (sometimes with bells on), but also with eggs (raw), balls (ping-pong), bodhrans, and nine “items of terror” (a meat cleaver, a lighted torch, an egg, a wooden salt shaker, a bottle of champagne, a frying pan, a block of dry ice, a ukelele, and a plastic fish). Also a bag of Jell-O, a frozen cappuccino, and a bottle of vodka donated by the audience. They juggle very well, too, especially considering that they trade witty repartee, and sometimes play musical instruments and even dance while they’re doing it. But even I, whose circus experience is limited to buskers in Harvard Square and a handful of boutique circus shows, know that their juggling is not in and of itself unique or genre-breaking.”

    Ziggurat Theatre Ensemble

    MIDORI SNYDER, 2004

    “The Ziggurat Theatre Ensemble is a visionary troupe of performers who borrow from the rich traditions of folklore and world myth and then transform these venerable stories into extraordinary stage events.”

    The Heart Of The Beast Theatre

    BARTH ANDERSON, 2003

    “Equal parts activist organization, avant-garde art troupe, and spiritual core of Minneapolis’ far left, In the Heart of the Beast’s productions feel more like shamanic messages from the Other Side than puppet shows.”

    Interstitial Films

    INTERSTITIAL ARTS FOUNDATION

    Here is an ongoing list of interstitial films recommended by contributors. These are works that do not fit neatly into any one category and often break new ground altogether. Different contributors have different ideas about what makes film interstitial, which is why we have asked them to annotate and sign their recommendations.