Friday, April 04, 2008

The Pregnant Man

So many of my closest allies have said enough semi-offensive things on this topic, I had to weigh in.

I'm not even going to comment on the "So he's really a woman" nonsense that this has brought to the forefront, though I am glad that the conversation is being had in mainstream circles. Sex and gender are different, how many ways does it need to be said?

"Why would you go through transition to become a man, just to do the most womanly thing a human can do" is the question I keep hearing. Sometimes it's just a curious muse, sometimes it is said with a sneer, as if this person is either an idiot or totally insincere or inauthentic as a (trans)man.

My response is that, once you have gone through transition, you understand on a fundamental level a few things:

1) That sex and gender are totally different things. Your body exists as proof.

2) That gender is fluid and grows as you grow. The same way you're different now from who you were when you were 13. (Most people are, anyway...though not, it seems, David Letterman...)

3) That most of the categories we hold "men" and "women" to are meaningless, since you, obviously can move in and around all of them (even when you're not trans). You have done this, you know well.

4) YOU SHOULD DO WHAT YOU WANT TO DO WITH YOUR LIFE. Most of us even go to the point of almost taking our lives; transition saves us and makes us smarter and more in touch with the courage you need to truly make yourself happy.

That's "why."

Love and kisses, and lots of happiness to you in all the unusual places you might find it.

Turner

ps - And I'm not saying "do anything to be happy." No morally ambiguous arguments about pedophilia or bestiality should arise from that statement. Do what makes you happy, so long as it's safe, sane, and consensual as most reasonable people understand it. You know exactly what I mean if you yourself are a reasonable person. xxoo.

Friday, January 04, 2008

New Book!


Two Truths and a Lie
a memoir written & performed by
Scott Turner Schofield
Price: U.S.$15.00

ISBN-10: 0-9785973-2-X
ISBN-13: 978-0-9785973-2-0

"I am completely mad for Scott Turner Schofield. He is a thrilling, compelling, and downright charming writer and performance artist. And handsome. Did I mention handsome? And smart. Buy this book. Read it.
— Kate Bornstein, author of Hello Cruel World

Homofactus Press proudly announces Two Truths and a Lie,a memoir in the form of three solo plays written and performed by critically-acclaimed solo performer Scott Turner Schofield. From inside the often hilarious—but all too real—moments of his young life on the Homecoming Court and Debutante Ball circuit (in a dress), armed with only a decoder ring and a gifted tongue, Schofield comes out with truly unbelievable stories of a body in search of an identity. By turns slapstick and slap-to-the-face, this drama invites audiences and readers to explore gender, sex, sexuality, and self in their own first person.

"Scott Turner Schofield's storytelling is so honest, his approach so unique, his style so unselfconscious and disarming, that his shows will have you wrapped around his pinkie in no time. I've seen this Southern gent win over the most jaded of New York theater audiences with one wry smile and a perfectly placed raised eyebrow. He's the real thing—and nothing less than a national treasure." — T Cooper, bestselling author of Lipshitz Six, or Two Angry Blondes and Some of the Parts

Two Truths and a Lie is the latest work from Homofactus Press, a publishing house dedicated to work by and for trans and genderqueer men. Publisher Jay Sennett is thrilled with Schofield's book: “Scott is both a torchbearer for a rich tradition of queer theater and a catalyst for new work that uniquely describes transmasculine experiences.”

Schofield: "I write my shows with my family in mind: my family who doesn't share and doesn't really understand my transgender and queer identities, but who love me and would rather hear a story than a lecture. I hope that my readers—audiences I may never look in the eye—find something in my book to add to their understanding of the transgender experience, and even better, to their own experiences of their genders, too."

For more information, contact Alan at pr@homofactuspress.com. If you would like to schedule an interview with Scott Turner Schofield or receive a digital review copy of Two Truths and a Lie, please contact Alan at pr@homofactuspress.com.

Homofactus Press | 1271 Shirley | Ypsilanti, MI 48198 | 734-635-1404 | homofactuspress.com

Monday, November 12, 2007

Appalachian State University residency report

Residency Location: Appalachian State University, Boone NC
Dates: 11/7-9/07
Performance: "Underground Transit"
Sponsors: TransAction, Office of Multicultural Student Development, [MANY OTHERS...]

Residency Schedule and Activities:

11/7: Arrive. 1pm: Class talk to English Composition class. Elizabeth Wilson, instructor.
3pm: Class talk to English Composition class. Elizabeth Wilson, instructor.
5pm: Class talk to English Composition class. Elizabeth Wilson, instructor.

11/8: 11am: Class talk to English Literature class. Elizabeth West, instructor.
1pm: Class talk to English Composition class. Elizabeth West, instructor.
3pm: Class talk to English Composition class. Elizabeth West, instructor.

Class talks stats:
Average attendance: 20 students

Impressions: As usual, some classes were more quiet than others. I regret that I did not perform in one class, I only lectured, and this was a mistake - performance is what hooks them!

One Composition class comprised of Criminal Justice majors who were initially very resistant (snickering, closed body language, text messaging), but who became very engaged when the focus turned to how understanding transgender identity and issues would benefit them as police officers and prison administrators. We discussed the current state of affairs in many jails and prisons (prisoners are not administered hormones, are often victims of abuse and assault) and looked for ways that they could approach this issue when they become a part of the prison system. I encouraged them to focus their research on trans issues in the prison-industrial complex for their upcoming mid-terms.

In the Literature class, I focused on the difference between theory and story: how labels do not create empathy or understanding, but stories do.

In all of my class talks at Appalachian State, I was surprised to find men leading most of the conversation. In most other places, men stay quiet while women ask questions and lead conversation. I noticed that both men and women ask the same questions; however, at App, I will note that the physics of what transpeople do in bed came up every time (this is a rare topic other places)!

Feedback:
"I asked my students the next day what they thought of your presentation. They were pretty uncomfortable -- and that's a good thing! Usually they don't remember anything we covered in the last class. After you, they were still present with the ideas you brought up, because they're still digesting them. I was really pleased to see them working so hard on the concepts you brought up."

11/9/07, 7pm: Community Workshop at Unitarian Universalist Congregation on gender oppression in Boone, NC and Appalachian State.

Attendance: 25. Comprised of TransAction and SAGA members; University administrators, faculty, and staff; UUC members, and Boone residents.

Impressions: A very liberal/radical/progressive crowd. Business owners were invited to discuss ways of making the community safe for people of all genders, but none attended.

I became uncomfortable during the conversation when we started using "they" and "them" to refer to the white, conservative Christians that make up a large part of Boone's community. I asked the participants to consider that "they" often talk about "us" with the same distaste, which usually makes for bad situations. "We are Them, They are Us," I said, and we shifted to discussing positive ways "we" can approach "them" to create a safe community for everybody. My partner, Carey Martin, brought up the Femme Mafia example: this group approached business owners and created visibility by holding regular monthly meetings in different restaurants, cafes, and clubs. They educated the establishments about femme identity by just showing up and patronizing the business. TransAction thought this would be a good idea for their meetings.

Feedback:

"I was glad you brought up the Us/Them thing. We do need to talk about things differently."

"Great facilitation."

11/9: 3:30-5pm: Workshop: Strange Bedfellows - Greeks, Jocks, and Queers.
Location: Grandfather Mountain Ballroom, Student Union Building
Attendance: 100. Comprised mostly of members of the Kappa Alpha fraternity as well as 2 sorority members (didn't record which sororities). TransAction and SAGA members attended in-full. Due to peak football and basketball season, only 3 athletes attended.

Impressions: Tough crowd at first! I feared I might lose all of the many Greeks who showed up as I introduced words and topics about sex, gender, and sexuality. I illustrated examples of how Greeks, Jocks, and Queers 1) each deal with similar (mis)impressions of their groups, 2) are actually all valuable leaders on campus, and 3) have many characteristics in common, and the crowd warmed. Splitting into small groups allowed each sector to interact with groups they might otherwise never connect with and cemented our path to getting to know one another. By the end of the session, plans were in the making for inter-group service projects and fund raising dinners.

Feedback:
"I never had the chance to talk to a gay person before."

"I never thought that I might be part of the problem as a queer person, that I might be causing the tension between Greeks, Jocks, and Queers. I always felt like a victim, but it's true, I have a lot of prejudices myself, and that's just as unfair."

"We can't change the campus climate overnight here. But this was a really good first step. We can bring this back to our chapters and try to make change in small ways. That would be a big thing, actually."

Performance: "Underground Transit"

Date: 11/09/07 (Friday night, 7pm)

Location: Grandfather Mountain Ballroom, Student Union Building

Attendance: 120

Impressions: Excellent crowd! Comprised mostly of people I hadn't seen before, as well as many class and workshop members. I couldn't believe so many people came out on a Friday night to a queer theater show, but that just goes to show that class talks and workshops really bring folks out! The performance went well. The Q&A after was in-depth. My mom and partner attended, which allowed questions about family and relationships to take on a deeper meaning -- their presence "authenticated" my answers.

Feedback:
"Thank you for doing this show. I feel I understand myself better because you said many things I have thought myself."

"I'm gay, and I have a lot of problems with transgender people. I just can't understand how you can be a man, but not a man, or a woman, but not a woman. I struggle with it because I want to be supportive, but I just don't get it. Tonight I understood it. You're a man, there's nothing else to it. And you have breasts and you look good in a skirt, but you're definitely a man. I get it now."

Sunday, July 01, 2007

From Belgrade pt II

I'm beginning to think in images, the way they do at DAH. Seeing random stills of everyday motion, beauty and terror life and connections in any moment. English being a second or third language to the women of this theater, they have many similar phrases; they often say "In one moment..." and I considered it a verbal tic. Now I think of it as an aesthetic: there is only one moment, one at a time.

Images so far:

Sky preparing for storm, clouds darkening one half, the other half still bright day.



Widow women wearing black.




Widow woman wearing black bent over in a seat, holding tiny bouquets of wildflowers wrapped in white paper out in front of her, not looking up.




Very elderly people everywhere. They don't hide here, they live as history and present on their own streets.



Young girl selling roses on a restaurant patio. The Maitre'd takes them away from her, shoos her out. The look on her face as she stands there, unable to leave without her roses, unable to take them with her. The anger that does not form tears as she looks at the Maitre'd.

The well-fed man who flounces in after she is gone, selling roses, undisturbed.



Heat lightning in the sky, different from lightening when there is the actual chance of rain.




New buildings, old buildings; shiny capitalist buildings, crumbling socialist blocs; buildings with roman numerals almost as old as the numerals themselves.

The man killed on his futuristic, shiny motorbike by a lumbering old two-tone truck. The men in black jackets picking up his white shoes: where's the other one? Oh, here, under here. The pool of blood that didn't run even though it pooled on a hill. The people watching, then walking away. The way the old woman's hand flew to her mouth magnetically as she approached the scene.



The old man with huge glasses on the tram, shooing back with his hands cars that had pulled too far into the intersection as we glide past.



The way ladies smile when a boy tourist gives up his seat. They hold eyes with him.

Fields of sunflowers under morning blue and afternoon red skies, just like in those posters.





The majestic width and smooth solid depth of the Danube cutting through the countryside.



Street theater flanked by huge, delighted crowds.

Theater that builds images so slowly and subtly that the gutpunch ending creeps up impossibly.




And now a story of a moment:
On the bus heading back from town, after shops close and people head home, the tram is filling with gloom and the bright of steetlights just turning on. My iPod starts shuffling through songs I don't care for and I take it out as I stand on the top step in front of the middle door. An elderly man with white hair and huge, thick, brown-rimmed glasses stares into the glowing screen from the step below, then looks up at me.
Mobil? He asks, then points at the iPod, says sure: Mobil.
No, I tell him, but how do I tell him? iPod, I say, I'm foreign, it's foreign, why try to explain?
Mobil? He asks again. I take the earpiece hanging at my neck and hold it to his ear. In this moment our faces are less than 6 inches apart, we are connected by sound and wire, and I am shocked by the electricity of a stranger, having not come so intimately near to another person outside of school in 3 weeks.
"Ah! Muzik!" He says, and we beam with understanding. He gives me the thumbs-up sign. "Very good. Have a nice day," he says, as the doors part and he steps away.

Wednesday, June 20, 2007

From Serbia with Love and Thanks


This trip began in community. I asked my 600 "closest friends" to help send me to Belgrade with small donations to help fill the gap my early-year health crisis created in my funding. A huge group responded, sending anywhere from $5 to $200, raising me to over my goal of $900 within two weeks.

Thank you all so much, those of you who donated. My thanks are a constant refrain in my head as I learn so much here.

I departed from JFK in New York City on June 9th, arriving early in the morning on June 10th in Amsterdam, where I passed a 6-hour layover. I point this out because it felt like a full 6 hours; in Amerstam the speakers never go silent and they also chastise you: "So-and-so and So-and-so departing for Wherever: you are delaying your flight. Please go immediately to your gate. We will begin offloading your luggage." It's not a threat--they're doing it! And this is constant! At least every 3 minutes, somebody gets publicly booted from their connection to far-off lands. First the browbeating melody raised my eyebrows, then it became funny, then annoying, then (as I tried my best to nap), taunting. Finally my plane to Paris arrived and whisked me off over Western Europe with all of its cities' symmetry slicing the land in gorgeous patterns, hypnotizing me to sleep.

Paris's Charles de Gaulle airport is a maze. I was so grateful for my long layover. Finally in my terminal, I was shocked at the European advertising: very naked women selling very pretty things by using English swearwords. I couldn't take a picture because of the glare, but the best ad, for what I'm not sure, maybe jewelry or jeans? Those were the only coverings the model wore...except for her tattoos, which hung between her clavicles reading LOVE ROCK FUCK. I love Europe.

My plane to Belgrade felt like a party bus. Packed full, everybody chatted, yelled down the aisles to friends. They served us tasty sandwiches as we sweated without air conditioning on the old plane. Below the Swiss Alps still sparkled with snow, then gave way to flat lands until finally I saw the either the Danube or the Sava, Belgrade's two rivers, cutting through the fields.

Sanja, my colleague from last year's Youth Creates summer camp at 7 Stages, met me at the airport at 8pm on June 10th, 1pm at home in the States. I had been traveling for over 19 hours, so clearly the best thing to do was go have dinner with the rest of my classmates.
We went to a restaurant called Dačo (pronounced DA-cho) on Ave. Patrice Lumumbe. The roads in Belgrade constantly change names depending on the ruling political party; this road is one of the last left still honoring a communist (socialist?) hero. In a style I would call "Nostalgic Yugoslavian" the restaurant had an amazing rough-hewn log porch, roofed in, with Yugoslavian (now, I guess they would be Slovenian, Croation, Serbian, and Montenegran, and Macedonian) fabrics hanging from the rafters. They served amazing food, all tapas-style, with schnapps and wine; a much easier and better combination than you might imagine, the way they do it here, sweet and intoxicating but not overpowering or hangover-inspiring. Whether through my hunger or just the merits of the food alone, g*d it was good.



Finally to my apartment. I had expected a home-stay situation, but a friend of the school keeps a rental apartment, and I was lucky enough to score a place in it with two other students. A 5-minute walk from the school and in the center of everything, I am grateful not to have to negotiate the (quick and well-run but) always cram-packed trams and busses every day.

My apartment. I sleep in the living room.

The next day, the 6th International School of DAH Teatar opened for class. The schedule is similar every day: we arrive, stretch, find our "central line", practice Chi-Gong, and train with the "3 Steps"- about an hour of moving to a 1-2-3 beat. It's amazingly difficult and athletic, but teaches you so many ways of moving. Dijana Milosevic, one of DAH's directors, says "Anything can be your ally or your obstacle, but still you must perform with it." So far I have dealt with 85 degree heat (no A/C here), blisters, and blisters on my blisters over just the general muscle soreness and fatigue; one week out, I'm happy to report I'm over it--I have pushed through to the other side, and my feet are mostly healed!

After 3 Steps we do vocal training for about an hour and a half. As an American, my voice lives mostly in my throat and nose, sometimes my chest. Sanja is teaching me to find a voice low in my stomach, a frustrating process, but powerful and vital to me not only as an actor but as a person who is always striving to "find my voice" in every aspect of the term. To round out the day, we work on creating precise physical scores (almost like dance, but expressive in a way that works for theater) and blindfolded movement training, used by Jrszy Grotowski, to help build spatial awareness.

Okay, so that's all very detailed and academic, but what does it have to do with the deeply moving political theater these artists make? On the first day, Dijana Milosevic gave her lecture "The Role of the Artist in the Dark Times" in which she described DAH's 16-year history, beginning with the breakup of the former Yugoslavia and through the U.S.-led NATO bombings in 1991. Through the political loss of her homeland, through the following social unrest, to even working in a building targeted by the bombers (the school in which the theater is located had government antennae on the roof), Dijana, Maya, Sanja and colleagues came together every day to do this specific training in the service of their work.

"Many days, the training was stronger than we were. Leaving our kids and our partners while air raid sirens sounded to spend 6 hours making art does not seem logical, and even we did not think we could do it. But we came together and made space for the discipline, and the art itself that we began making became a focus and a shelter."

Dijana quoted Bertold Brecht who asked "Will there be singing in the dark times? Yes there will be singing, about the dark times." Brecht's singing became the group's first public show, which they performed environmentally around the central square of Belgrade, black angels with wire wings speaking for the first time out loud the questions and resentments of a country at war. The video footage is incredible: stunned crowds following, children enthralled by the spectacle and grown men crossing themselves at the sight. Usually, when I see environmental political theater, it's agit-prop--effigies of Presidents or activists singing clever slogans instead of shouting them--and usually when I see this street theater I am one of "the choir" of people paying attention while everybody else studiously ignores it.

(I feel a huge split in U.S. activist culture where performance must be agit-prop activist or else it is considered "unuseful" to--or just generally not considered at all in--the aims of whatever agenda we have. In this way I feel outside of my own activism, having to steal people away, unde the guise of "entertainment" to my performance space to try and make a real political connection outside of the arena of "real politics.")

Dijana credits the artistic discipline of her actors for their popular audience's response: Eg, they paid attention. It affected them. They gave voice to the thoughts that were being studiously silenced by government and society alike. Because the work was not agit-prop in content, and because the actors created such deeply personal stories with their movement and text, the work worked. They didn't tell the audience what or how to think: they let the audience think and feel with them, bringing them into the art. DAH took their theater back into the theater and created more shows, as an ensemble and as individuals, that touches audiences world-wide in the same way.

This is what I am learning: the nuts and bolts of making work that engages society through deeply personal understandings. I find myself finally in a community who understands by experience just how significantly this kind of art can change people. It feels amazing to have this as our starting point; in the next two weeks this will only take deeper, smarter hold, and I can bring it back to my community -- Y'all--because you helped me.



Views of the Sava River and Kalemegdan, an ancient Roman outpost at the confluence of the Save and Danube, now a realxed and fun nightclub.







A boutique with a sense of humor
in this formerly Communist country....

Wednesday, June 14, 2006

Mecklenburg County Censorship Debacle

Check out this link

http://www.homofactuspress.com/2006/06/scott_turner_schofield_censore.htm

for news on my first round with state-sponsored censorship!

Thanks muchly to Jay for a really nice blog on it.

I'm also now allowed to inform folks that I will be appearing in Jay's anthology! Due out in August...check out Homofactus Press for more!

Sunday, June 04, 2006

San Antonio Pre-Show

Scott Turner Schofield
Jump-Start Performance Company
National Performance Network Community Fund Grant Report

[Editor's note: All of this transpired during the last week of April. I'm just the world's worst blogger, hence the, uh, June post.]

Narrative
My pre-residency with Jump-Start Performance Company in San Antonio, made possible by the Community Fund Grant, makes me believe that the community-based, multi-cultural, multi-issue work that I aim to make as a transgender solo artist is, in fact, completely possible—and totally exciting.

Before I arrived in San Antonio, JSPC members researched appropriate venues for me to network with community artists in and out of the many transgender communities in the city. When I arrived, we set up a schedule and laid out our goals:
1)Identify transgender individuals and communities in San Antonio who are active in performance, social, and/or activist circles.
2)Identify individuals and communities in San Antonio who would be allies to transpeople through art, personal solidarity, and/or social activism.
3)Identify transgender individuals and communities in Austin and Houston who are active in performance, social, and/or activist circles.
4)Identify individuals and communities in Austin and Houston who would be allies to transpeople through art, personal solidarity, and/or social activism.
5)Entice those people to speak and perform during National Performance Network residency for “Debutante Balls” at Jump-Start, May 26th and 27th.

The community element of the residency we envision for May looks like this:
What: Performance-Workshop-Networking opportunity for San Antonio-Austin-Houston artists who do with gender, in performance, what words just can't describe; Discussion forum for San Antonio transgender communities and our allies.
Why: To identify, celebrate and support trans communities and their allies in the region, talk about what matters to us, show off our work, smash some gender norms, and have a rockin' good time.
When: Friday, May 26, 8-11pm: “Debutante Balls” a 1-trannie show by Scott Turner Schofield followed by Cross-Cultural Trans-Community Forum for people of all genders.
Saturday, May 27, 2005 12pm-2am
12-2pm: Gender Performance Workshop with Scott Turner Schofield & Area Performers; 8pm: Words Can't Describe Regional Performance Showcase & Debutante Balls;
10:30pm: Drag BBQ!
What Else: EVERYBODY welcome & encouraged to participate—yes, You. Travel stipend for out-of-town artists ($100 Houston artists, $50 Austin Artists), $100 minimum honorarium for Words Can't Describe participants [paid for by the Community Fund Grant].

I translated this information into a flier, which looks like this:



These fliers were disseminated at all of the events I attended.

A key factor in all of my work, and of course in this residency, is allyship. Artists are nothing without allies in their audience: trans artists need to be seen and supported by allies as well for our work (and our issues) to be valued. Drag shows are only so much fun because of audiences that include lesbian, gay, bisexual, and straight allies; I want to take all the fun of a drag show and infuse it with useful, community-building information through storytelling. Much of this pre-residency was spent drumming up interest among would-be performers and speakers, however the overarching goal is to outreach to communities of allies, whether they be other artists, family members, friends, or people who just happened to read the paper and want to know more about this “transgender thing”.

I began this work on Tuesday by attending Puro Slam, San Antonio's most noted (and notorious) poetry slam. I participated in the slam using moments from “Underground Transit”, my first solo show that is written in slam poetry style. The only openly queer, non-(biologically) male performer, I made it to the final round—only to be knocked out by a judge who insisted on scoring my work “6.9” every time, decreasing my final average. I plugged the show and made friends with two local performers: [name], who is on the National Slam Team for San Antonio, and [name] who does improv comedy. Both agreed to help promote the show in May, and may participate in the performance workshop for people of all genders. As a promotional activity, I am looking into headlining the May slam, which is populated mostly by Latino and Black men who love poetry no matter who's performing it, when I return to town.

Thursday is Drag Night in San Antonio; Company Artistic Director S.T. Shimi and I hit local gay and lesbian bars in full promotional form. We handed out fliers for the show and workshop, then met up with company members Monessa and Annelle for what became a singular experience, for me, as a connoisseur of drag.

I learned that San Antonio's drag scene is largely composed of transsexual artists, not artists who do not identify as transgender outside of the performance space (as is the case in many locales around the country). This means that the artists use hormones and/or have had gender-affirming surgery. This difference translates to performance which becomes, more seriously, about the body and the moves than about a campy performance of “someone else's” gender (which is differently valuable). It also makes for a lot more nudity! The performances I saw at The Saint were phenomenal—technically masterful dance pieces that exuded a sense of pleasure in the body of the performer (for him or herself). To be able to watch a transperson rock out and be sexy, and truly, un-self-consciously enjoy themselves felt like liberation to me, and was fun as hell.

I met a number of the artists that night, including the host, Erica Andrews. Andrews is San Antonio's most well-known drag queen. She expressed interest in participating in the Jump-Start program: the trick will be whether her busy schedule will allow it, and whether we can pay her enough to make missing a Saturday night of drag performance financially worthwhile to her. I also met a group of allies who call themselves The FeministDykeBitches; this group is organizing a pro-choice benefit outreaching to trans communities along common lines of sexual health and our mutual desire for freedom of choice when it comes to our bodies. They are spreading the word to other performers, and will hopefully participate in some aspect of the residency.

Another element to San Antonio's drag culture is its majority of artists of color. Too often, drag troupes and events such as “Words Can't Describe” are white-dominated, which leaves out entire communities of performers and the stories that come with them. Visibility is key for transpeople, so drag shows that exclude (for whatever reasons) artists of color do serious damage to the perception of who is and is not trans, who can or will not do drag. Such exclusion is usually a symptom of racially-divided communities at-large, but I feel it most acutely in drag events that would be so much better with a plurality of experience and participants. San Antonio's multi-cultural reality makes my goal of integrated performance truly possible—in fact, producing an all-white event here would be thankfully impossible!

On Friday, I traveled to Austin for the serendipitous 4th Anniversary of Kings'N'Things, Austin's premier drag king troupe (KNT). The group is predominantly white, however actively anti-racist (I observed through interactions and conversations among the Kings'N'Things). There were no transwomen performers in Austin, but biologically-female, “femme” performers did have an important presence. Another difference between the cities was academic: I observed a lot of gender theory and philosophy involved in the Austin performances—not so much about the body and the moves, but about word-play, sex humor, and camp. While the San Antonio Queens and Kings choreographed to pop ballads, the Kings'N'Things made elaborate skits out of such songs as “Save a Horse, Ride a Cowboy” and “Whatever Lola Wants”. Hey, different strokes—both shows were fantastic, and if these communities come together for “Words Can't Describe”, the audience will benefit from a huge variety of well-executed work.



I brunched with members of KNT, who were very excited about the Jump-Start performance. Austin is slated to hold the 8th Annual International Drag KingCommunity Extravaganza (IDKE). Working with regional artists will strengthen their existing networking goals; given that this is the first IDKE to be held in the South, a strong Texas presence, hopefully encouraged at Words Can't Describe, will do much to promote the visibility of artists from outside the major urban drag centers. KNT agreed to promote the Jump-Start show around Austin and in their various web communities, and at least two of them will participate in the discussion and performance.

The next morning I brunched again—in keeping with our hope for a Drag Brunch during the Jump-Start residency! This time I met with Skot, an ex-member of the San Antonio Kings and founder of King'N'Play, an offshoot group of the San Antonio Kings. Skot will present a skit about bathroom problems and politics during the residency. Skot also connected me to Matthew Devreaux and Erik LaRue, with whom I have since been in touch; all three artists will promote and present for the Jump-Start showcase and discussion.





Further Goals

1.Connect with Houston performers and activists. Sixto Wagan of DiverseWorks is helping to spread the word via his contacts in the community, including HATCH (Houston Area Teen Coalition of Homosexuals).
2.Get commitments from performers and activists already solicited and organize the events according to the participants.
3.Promote! Promote! Promote!

Wednesday, May 31, 2006

Trans Marriage

http://www.visalaw.com/06jan1/2jan106.html

Will a marriage involving a transsexual individual be recognized for immigration
purposes?

In recent case decided by Board of Immigration Appeals (BIA), In Re Lovo, the BIA
held that a marriage between a postoperative male-to-female transsexual and a male
can be the basis for benefits under section 201(b)(2)(A)(i) of the Immigration and
Nationality Act. Since the state where the marriage occurred recognized the change
in sex and considered the marriage valid, the BIA also found the marriage to be
valid. The BIA overturned the decision of the Nebraska Service Center Director who
denied the petitioner's instant visa petition under the INA on the basis that
Congress has not enacted legislation that officially recognizes a marriage where
one of the parties has undergone a sex change. This decision marked a victory for
the recognition of marriage of transsexual post operatives by federal laws.

Friday, April 21, 2006

On the Road from Austin

A convergence of events leads me to write, finally: today I saw a comic strip where the character said "I'd hate to have you waste perfectly good blog material by actually talking"; I am also in Austin, a city totally un-wired, that is, wireless. Free. For everyone. So I have no excuse.

I'm here to "network", in the least icky way possible, with the fabulous Drag Kings and other performer types. Today marks the 4th anniversary of Kings N Things, Austin's premier drag troup. Check em out at www.kingsnthings.org. I'm stoked to see what these boys have to offer, having just had my mind blown last night by the small but excellent Alamo Kings troupe in San Antonio. They performed with a larger group of "female impressionists", as their godmother, Erica Andrews, called them. (See her at www.simplyerica.com). I'll compare and contrast later tonight, after I see what these Austin Kings get up to. Ah, sweet antici





pation.

I'm here in the state of my birth to do my very first pro-theater show (in Texas), presented by Jump-Start Performance Company. I met the fabulous Steve Bailey, superb S.T. Shimi, and most holy Lisa Suarez in 2003 at the Alternate Roots Annual Conference. I performed "Underground Transit" for them, and we've been trying to figure out a way to collaborate ever since. Finally, the National Performance Network supported us in that endeavor. Hooray!

This week I've been meeting with local area folks, spreading the word about my performance ("Debutante Balls," May 26th & 27th), and trying to build up interest in the "Words Can't Describe" event we'll be hosting as part of my residency. I want to work with San Antonio gender performers of any stripe (but especially FTM/drag-king types, since the community here has little visbility), and we're hoping to make it a community-building effort for Houston-Austin-San Anontio regional performers (and activists...but those lines are so often so cross-hatched...). Yay space! Yay support! Yay gender! Yay politics as aesthetics and aesthetics as politics!!!

Ahem. I just hope that folks will come out and play...and then keep on keepin' on together.

I'm doing basically the same work in the very different community-locale of Seattle, WA, presented by the Pat Graney Company. That'll be May 17th and 19th at Richard Hugo House.

Here's the second part, at both venues, that I'm very excited about:

"Scott Turner Schofield | National Performance Network Residency | Trans-Ally Community Forum

Who: Transgender people of any identity or orientation (eg, people who in any form of language or philosophy identify with the word/concept/identity “Transgender”); People who share community with Transgender people; Allies to Transgender people; People who want to learn more.

What: The Trans-Ally Community Forum is a forum that privileges storytelling over rhetoric, and everyday issues over philosophical questions of identity. A diverse panel will be invited to tell short stories about their lives as transgender people, friends, family, lovers, allies, onlookers and bystanders to transgender communities in [$town$]. This will serve as a model for how the rest of the dialog will take place: participants (not the panelists) will then share their own short stories so that everyone in attendance will take home an idea of the realities of our intersecting communities, here and now.

This forum does not allow critique—no rhetoric, theory, or “calling out” of any “isms” that may be inherent in a person's story. Will will listen radically to one another, and listen to our own internal responses. In so doing, we will see where we stand, understand our issues and, hopefully, each others' intents. We can take this knowledge into further community work outside of this conversation, but here, we tell our stories, and listen to one another.

Why: Too often, communities get caught up in and divided by our own identities and our expression of them. Further, language and access to rhetoric defining what is or is not acceptable to progressive and/or “subversive” communities silences us, for fear we will offend or show ourselves up as imperfectly defined and/or executed. Sometimes, we need to just be who we are, think what we think, find community, and learn without fear of alienating others/isolating ourselves. Sometimes, we just need to take our own pulse, and listen to those of the people around us. The Trans-Ally Community Forum seeks to model a way of doing this, aims to create a space where, for just two hours, we can be individuals in community who are, or care about, or want to learn more about Transgender people. "


I feel like this event is a coalescing of so much thought and desire for action on my part. It's about storytelling; it's about being who you really are, imperfectly, in the community where you live; it's about listening and really hearing, without letting whatever axe you have to grind dull your empathy or your progressive learning. I hope that the people who end up participating will be able to work with that intention.

I have been so frustrated, lately, by people who would rather find the oppression in every sentence than the liberation in the expression of an ideal. Easy for this straight white guy to say, right? Except that I notice it more now that I'm a straight white guy who looks like all of those things. I'm still a radical feminist. I'm still the same person who was moved and educated and inspired to action by class-conscious, anti-racist, pro-choice queer nationalists (well...not all in the same person, but you get what I mean...). I'm fully aware that I need to be vigilant around the privileges suddenly being handed to me...but that's the thing. I know. And too many folks I meet these days don't trust that I know, because of the way my gender and race fit together now. It's a peculiar form of prejudice--one that I know I too have committed against white straight men in my life (before I became one). The downside to transition, eh? Hm.

Off now to see D'Lo perform "Ramble-Ations": A One D'Lo Show, at ALLGO -- the country's only statewide queer people of color organization (www.allgo.org). Again with the excited anticipation!

Sunday, March 19, 2006

T-15 Minutes and Counting

So I made the cover of Atlanta's Creative Loafing magazine--the free weekly paper that bills itself as "Shelter from the Mainstream". Curt Holman, Atlanta's finest theater critic (in my opinion, and that of most of my actor friends), wrote a very sensitive, positive, and informational story about my transition, both from female to male and as a performer.

I used to joke that all of Atlanta has seen my tits. Now, without hyperbole, I can say that all of Atlanta knows what's in my pants (and under my shirt).

It has been fun and a little horrifying, carrying out my daily routine since the story dropped on Wednesday. Today I dined at my regular spot, the Radial Cafe, only to see my face on every table right next to plates of pancakes and scrambled eggs. I got a lot of looks--curious, supportive. My friend Shane and I next hit JavaMonkey in Decatur where a high school student from 7 Stages' summer program gave me the heartthrob mob treatment, causing everybody in the place to look over and wonder what was going on. The only part I found funny was that I turned a completely new and different shade of red. Everybody else thought the incident was HILARIOUS. Go ahead. Laugh it up ;-)

But the best part--aside from my story being treated very respectfully by Creative Loafing (factual, unopinionated, and semantically correct press for trannies is still woefully rare)--was a conversation I just had out at a community dinner. A friend who I don't know too well, but like very much (he generously loans me fun tools for projects and is just generally a very nice guy) told me he read the story, twice, Letter To The Editor Pen at the ready to defend me lest I fall victim to disrespectful press. This from a family guy who has patiently seen me through several less-than-manly predicaments with all manner of (his) power tools...it's enough to make a trannyboy tear up! (If I could. The hormones currently make crying impossible.)

I guess this is a blog to mark a very lucky moment in my life. I feel honored that my story and my work caught CL's attention, and very happy that they were so ethical and respectful with their portrayal. I am stoked that more people will be educated--I hope that they look into the lives of other transfolks for even more insight. And I just feel loved.

I'm going to sit with this feeling for a second more, and then I'm going to send it out to my trans friends everywhere, alive and dead. One more drop in what I hope is a fast-filling bucket of compassion and educated understanding.

Friday, March 17, 2006

Trans Joblessness

Transjobless

Imagine trying to find a job without a shred of work history. Welcome to the transgender job hunt.

By Tali Woodward
tali@sfbg.com
San Francisco Bay Guardian
Mar. 15, 2006 - Mar. 21, 2006 . Vol. 40, No. 24

In the transgender community, to have full-time work is to be in the minority. In fact, a new survey of 194 trans people conducted by the Transgender Law Center (TLC), with support from the Guardian, found that only one out of every four
respondents has a full-time job. Another 16 percent work part-time.

What's more, 59 percent of respondents reported an annual salary of less than $15,333. Only 4 percent reported making more than $61,200, which is about the median income in the Bay Area.

In other words, more than half of local transgender people live in poverty, and 96 percent earn less than the median income. Perhaps it shouldn't be surprising that 40 percent of those surveyed don't even have a bank account.

TLC doesn't claim the study is strictly scientific - all respondents were identified through trans organizations or outreach workers. But the data give a fairly good picture of how hard it is for transgender people to find and keep decent jobs, even
in the city that is supposed to be most accepting of them.

It's been more than a decade since San Francisco expanded local nondiscrimination laws to cover trans people, but transphobic discrimination remains rampant. Fifty-seven percent of survey respondents said they've experienced some form of employment discrimination.

And interviews show that job woes are hardly straightforward.

Navigating the job-application process after a gender transition can be extraordinarily difficult. Trans people run up against fairly entrenched biases about what kind of work they're suited for. Sometimes those who are lucky enough to find work can't tolerate insensitive, or even abusive, coworkers.

Marilyn Robinson turned tricks for almost 20 years before she decided to look for legal employment. She got her GED and, eventually, a job at an insurance company. The first six months went OK, but then a supervisor "thought he had the right to
call me RuPaul," she told us. "And I look nothing like RuPaul." Suddenly the women in the office refused to use the bathroom if Robinson was around. She left within a month.

Once again, Robinson was on the job hunt. She interviewed for a receptionist position, and thought it went well. But on her way out, she saw the interviewer toss her application into the trash with a giggle.

"The reality is, even a hoagie shop in the Castro - they might not hire you," she said.

Still, many activists say the increased attention being paid to trans employment issues is promising.

Cecelia Chung from the Transgender Law Center told us there's a "silver lining" in the effort the "community is putting into really changing the playing field. We're in a really different place than we were five years ago."

Activists say true progress will require broad education efforts and the cooperation of business owners throughout the Bay Area. But the project is well under way, with San Francisco Transgender Empowerment, Advocacy and Mentorship, a trans
collaborative, hosting its second annual Transgender Job Fair March 22. More than a dozen employers have signed up for the fair, including UCSF, Goodwill Industries, and Bank of America.


HURDLES
Imagine trying to find a job with no references from previous employers. Now envision how it might feel to have interviewer after interviewer look at you askance - or even ask if you've had surgery on a fairly private part of your body.

These are just a couple of the predicaments trans job-seekers face.

Kenneth Stram runs the Economic Development Office at the San Francisco LGBT Community Center. "In San Francisco there are the best intentions," he told us. "But when you scratch the surface, there are all these procedural hurdles that need to be
addressed." As examples, he pointed to job-training classes where fellow students may act hostile, or arduous application processes.

Giving a prospective employer a reference may seem like a fairly straightforward task, but what if your old employer knew an employee of a different gender? Do you call the old boss and announce your new identity? Even if he or she is supportive,
experience can be hard to erase. Will the manager who worked with Jim be able to speak convincingly about Jeanine? And what about your work history - should you eliminate the jobs where you were known as a different gender?

Most trans people can't make it through the application process without either outing themselves or lying.

Marcus Arana decided to face this issue head-on and wrote about his transition from living as a woman to living as a man in his cover letter.

"It became a matter of curiosity," Arana told us. "I would have employers ask about my surgical status."

It took him a year and a half to find a job. Fortunately, it's one he loves. Arana investigates most complaints of gender
identity-related discrimination that are made to San Francisco's city government. (Another investigator handles housing-oriented complaints.)

When he started his job, in 2000, about three quarters of the complaints Arana saw were related to public accommodations - a transwoman had been refused service at a restaurant, say, or a bank employee had given a cross-dressing man grief about the gender listed on his driver's license.

Today, Arana told us, at least half of the cases he looks into are work-related - something he attributes to both progress in accommodations issues and stagnation on the job front.

TG workers, he said, confront two common problems: resistance to a changed name or pronoun preference and controversy over which bathroom they use.

The name and pronoun problems can often be addressed through sensitivity training, though Arana said that even in the Bay Area, it's not unheard of for some coworkers to simply refuse to alter how they refer to a trans colleague.

Nine out of ten bathroom issues concern male-to-female trans folk -despite the fact that the police department has never gotten a single report of a transwoman harassing another person in a bathroom. One complaint Arana investigated involved a
woman sticking a compact mirror under a bathroom stall in an effort to see her trans coworker's genitalia.

But a hostile workplace is more often made up of dozens of subtle discomforts rather than a single drama-filled incident.

Robinson told us the constant whispering of "is that a man?" can make an otherwise decent job intolerable: "It's why most of the girls - and I will speak for myself - are prostitutes. Because it's easier."

The second and third most common forms of work-related discrimination cited by respondents in the TLC survey were sexual harassment and verbal harassment.

But only 12 percent of those who reported discrimination also filed some kind of formal complaint. That may be because of the widespread feeling that doing so can make it that much harder to keep a job -or find another one. Mara Keisling, director
of the National Center for Transgender Equality, in Washington, DC, said that "it's a common understanding within the transgender community that when you lose your job, you generally lose your career."


ANOTHER KIND OF GLASS CEILING
Most of the trans people we spoke to expressed resentment at being tracked into certain jobs - usually related to health care or government.

Part of that is because public entities have been quicker to adopt nondiscriminatory policies. San Francisco city government created a splash in 2001 when it granted trans employees access to full health benefits, including sex-reassignment surgery.
The University of California followed suit last year.

But it's also because of deeply ingrained prejudices about what kind of work transgender people are suited to.

Claudia Cabrera was born in Guatemala but fled to the Bay Area in 2000 to get away from the constant insults and occasional violence that befell her. Despite her education in electrical engineering and business and 13 years of tech work, it was difficult for her to find a job - even after she was granted political asylum. In 2002 a local nonprofit she had originally turned to for help offered her a position doing outreach within the queer community.

Cabrera doesn't make much money, and she sends some of it back to her two kids in Guatemala. But that's not the only reason she would like another job. She wants to have broader responsibilities and to employ her tech savvy.

"There is a stereotype here in San Francisco [that] transgender folk are only good for doing HIV work - or just outreach in general," she said.

Whenever she's gotten an interview for another kind of job, she's been told she is overqualified. Does she believe that's why she hasn't been hired? "No," she laughed. But she also acknowledged, "Even though there is discrimination going on here, this is the safest city for me to be in."

Cabrera is now on the board of TLC and is working to create more job opportunities for herself and others in the trans community. She often repeats this mantra: "As a transsexual woman, I am not asking for anything that doesn't belong to me. I am demanding my rights to live as a human being."


TRANSGENDER JOB FAIR
March 22
1-4 p.m.
SF LGBT Community Center, Ceremonial Room
1800 Market, SF
(415) 865-5555
www.sfcenter.org
www.transgenderlawcenter.org
www.sfteam.org

Monday, March 13, 2006

my space, our space

Hey there folks...

I write y'all from Pittsburgh, PA. This is my first time to Mr. Rodgers' Steel City, and I am already enjoying myself mightily. My awesome airport shuttle driver, Tim, brought me into the city over the mountain, which meant a surprise view of the skyline from about 1,000 feet. Totally breathtaking. It is also an unusual 70 degrees, so y'all know I'm happy.

For those of you in Pittsburgh, I'll be performing "Debutante Balls" on the 15th (weds) at 8:45 pm. Yes, that late. It's free, open to the public, and will be hosted somewhere inside the William Pitt Union (there will be signs). Please come if you can!

So, I had this idea the other day, thinking about how I can be A Representative of the Trans Community (don't startle--I know there's more than one!) without ever thinking of myself, or allowing myself to be thought of by others, as The Representative. I came up with the following idea. See below.

Concurrently, I joined MySpace. I know! Finally arrived in the 21st Century...I got over the phobia of yet more tech in my life and jumped in. Anyone who can help me make it look awesome wins a prize.

Those thoughts join each other in that I don't want my MySpace to be just My Space. The same way that I seek, with the Wallet Project, to be seen as part of a larger, vastly more diverse and complicated community of transpeople and other otherly-gendered folks. So the Wallet Project will actually be hosted on MySpace. Hooray.

See you there. And here. And wherever you are, on tour.

Turner


Hey there--

I'm an FTM queer trans performer. I tour the country with two solo theater shows, and usually speak to classes at universities as well when I'm on the road.

I'm a white, straight, passing transman. When I speak to classes, I make it clear that the experience I'm telling them is solely my own, and like any good Women's Studies alum, I break down the whole race-class-sexuality-gender-access privilege thing as best I can. But still, I want to take it further than saying "Trans people are every kind of person you can imagine. We are everywhere." I just don't know how much that sticks, coming out of my mouth.

One simple idea I had is to carry around a wallet of photos, which I will take out and proudly pass around to students like the big dork I am. You could take it further, and do some kind of wallet-sized art (2x2.5") representing something important or real to your trans experience (I use "trans" as expansively as possible. I'm describing anybody whose gender identity or expression breaches--to yourself or others--the brad-pitt-angelina-jolie binary, okay? Yeah--you. Or not you, if you don't
wanna.)

Among the other identities that intersect with trans, I also do my best to make it understood that we are ALSO genderqueers, and men and women (who don't use the trans identifier but are a part of the community), and many other things too. I would like for this to be represented in the wallet. So, if you want to, please also include how you identify yourself--eg, man, woman, CD, genderqueer...ummm...whatever's important to you...whether or not you include your name--that would be very helpful to this end. My goal is to represent the diversity that I do not, be that in how I look or who I am; and to make it clear that the individual counts when you're talking about community.

If you want to be a part of this, send along a photo or small artwork. It'll need to be 300dpi resolution (around
600 x 750 pixels) so it'll print out nicely--no bigger than 2x2.5". I'll for sure leave one blank for people who didn't feel comfortable being pictured.

Send to turner@undergroundtransit.com. Please note if you would feel comfortable having the photo shown on my MySpace, too (www.myspace.com/s_turner_s); and whether you want your name associated with the image in the wallet and/or on the space.

Sincerely,
Scott Turner Schofield

PS--Feel free to post, forward, or steal this idea.

Wednesday, March 01, 2006

Hard at Work...

Words added to my computer dictionary today:

Asian-trannie-goth-dyke
bling
cyberskin
debutante
Eurotrash
glam
packie
trangender
transpeople

Ahem. Just yer average day, making the world safe for your story...

Wednesday, February 22, 2006

Sex Workers Art Show

Go check out my gurl Simone of the Harlem Shake! That's my handkerchief she's waving!

The Sex Workers' Art Show Tour is coming to your town!

The show is an eye-popping evening of visual and performance art created by people who work in the sex industry to dispel the myth that they are anything short of artists, innovators, and geniuses! The wildly successful cabaret-style show is hitting the road again, bringing audiences a blend of spoken word, music, burlesque, and multimedia performance art; as well as a visual art display that travels with the show. The artwork and performances offer a wide range of perspectives on sex work, from celebration of prostitution and sex-positivity to views from the darker sides of the industry. This year’s incredible lineup of performers includes acclaimed Whitney Biennial artist and burlesque performer Julie Atlas Muz; iconic queer writer and author of The Chelsea Whistle Michelle Tea; hip-hop poet Juba Kalamka; foremother of the prostitutes’ rights movement Scarlot Harlot; artistic director of the only existing Black burlesque troupe Harlem Shake, Simone de la Getto; ! filmmaker and performance artist Bridget Irish; writer and feminist smut purveyor Tralala Farsi Sentiamo; and tour founder and ringmaster Annie Oakley. Visual artists include infamous camgirl and artist Ana Voog and activist and filmmaker Teresa Dulce. The show includes people from all areas of the sex industry: strippers, prostitutes, dommes, film stars, phone sex operators, internet models, etc. It smashes traditional stereotypes and moves beyond "positive" and "negative" into a fuller articulation of the complicated ways sex workers experience their jobs and their lives. The Sex Workers' Art Show entertains, arouses, and amazes while simultaneously offering scathing and insightful commentary on notions of class, gender, labor, and sexuality!For more information or to schedule interviews, please visit www.se! xworkersartshow.com, or email Annie Oakley at annie@sexworkersartshow.com.

2/22 New Orleans, LA Zeitgeist Gallery
2/24 Atlanta, GA Eyedrum Gallery
2/25 Huntsville, AL Flying Monkey Arts
2/26 Asheville, NC University of North Carolina - Asheville
2/27 Williamsburg, VA The College of William and Mary
2/28 Baltimore, MD The Patterson Theatre
3/01 Swarthmore, PA Swarthmore College
3/02 New Brunswick, NJ Rutgers University
3/03 Newark, Delaware University of Delaware
3/04 Boston, MA The Coolidge Theatre
3/05 Middletown, CT Wesleyan University
3/06 Annandale, NY Bard College
3/07 New York, NY The Knitting Factory
3/! 08 Lewisburg, PA Bucknell University
3/10 Athens, OH Ohio University
3/11 Chicago, IL Las Manos Gallery

www.sexworkersartshow.com