"Holler" is a graphic novel profiling six resisters of the fracked gas Mountain Valley Pipeline in the Appalachian region of Eastern United States. The book features the diverse stories and wisdom of long-time, grassroots environmental justice activists and water protectors. It is intended as a resource for knowledge and strength to people joining and in the environmental movement during a global climate catastrophe. In particular, this book is intended for people of all ages whose communities have been marginalized, like many in Appalachia.

Denali Sai Nalamalapu (@denali_is_a_rainbow) (she/they) is a queer, South Indian American writer, artist, and organizer in the movement to stop the Mountain Valley Pipeline. They currently live in Washington, D.C. They are from Maine. Their family is from Andhra Pradesh, India. You can find their work on denalisai.com

Gabb Schivone is investigating the previously unknown history of U.S. policing through the eyes of the cops who have rebelled against their profession out of racial, economic, or political minority status, and in the process supported some of the most significant social movements of the day, from anti-slavery to big labor, to Black Lives Matter.

Gabb Schivone (@gabb_schivone) (they/s/he) is a writer and investigative reporter from Tucson, AZ. Their work has been featured in palabra., Mother Jones, The Daily Beast, The New York Review of Books, and elsewhere. They've received support from the Fund for Investigative Journalism, the LA Press Club, FIRE Newsroom, the Robert B. Silvers Foundation, the Economic Hardship Reporting Project, among others. Gabb is a member of the National Association of Hispanic Journalists, Study Hall, the Trans Journalists Association, the Association of LGBTQ Journalists, PEN America, and the National Writers Union.

Womanly’s Spring issue on sex will focus on closing the pleasure gap by discussing diversity of sexual expression. The issue will discuss personal experiences with pleasure, demonstrating how pleasure may be different for different bodies and orientations, and provide readers with the tools to live their most orgasmic lives. The issue will also engage with our own intersectional identities and those of our readers, acknowledging the systems of oppression that create a culture of shame and neglect around pleasure particularly among female and gender non-binary individuals and amplifying stories of diverse women and non-binary people.

Attia Taylor is Editor In Chief of WOMANLY MAGAZINE (@womanlymag). Founded in 2017, WOMANLY is an art and health publication created for women and non-binary individuals to gain autonomy over their own health outcomes. WOMANLY is distributed both online and in print at health centers and community spaces across the US, reaching over 100,000 people all over the world every year. Through creative workshops, panels, story slams, and art activations, WOMANLY fills gaps that currently exist across our healthcare system due to racism, lack of access, and education.

Empire of the Sea is about intellectual curiosity, adventure, and a father's quest to reconnect with his son. Set in the 14th-century Mali Empire, the play is inspired by an historical account. According to the emperor Mansa Musa, the previous emperor outfitted a 200-ship expedition to explore the expanse of the Atlantic one hundred years before Columbus. Only one of the ships returned and the sailors told of encountering a great river in the sea that swept the ships to the west where they disappeared. The play will seek to enlarge conceptions of scholarship and maritime exploration in medieval Africa.

Stanley Stocker (@stanleypatrickstocker) is an African-American/Mexican writer and the winner of a 2021 PEN America/Dau Prize and a finalist for The 2022 Best Spiritual Literature Award - Fiction. His short fiction has appeared in or is forthcoming in Transition, Brittle Paper, Kestrel, Susurrus, and Middle House Review.

"The Vessel" is a new play about an older woman and her end-of-life experience in Aged Care. A cast of local artists and creatives will guide Mary's palliative journey, through song, dance, spoken word and action. Mary's story is that of a strong and powerful woman, now bound by physical incapacity and the confines of her room and brain. What is carried, what is hidden and what is borne by the vessel, are as important as how and where it lands. The play explores the themes of love, loss and loneliness, through the significant life events of the main character – Mary. This work is brought to you by a regional team of creative collaborators. It premieres in Kyneton at the Social Foundry on March 4th and 5th, 2023.

Dawn Bamforth (@bamforth.d) has been writing for most of her life, but has most recently taken to compiling a collection of digital work on her home computer, of which THE VESSEL (The Play) is her most recent creation. It is based on a poem of the same name, written in 2018, pre-pandemic after the death of her mother in Aged Care in July, 2017. The poem was the inspiration for the play, which she is hoping to realise in the early part of 2023, with the help of generous creative friends and colleagues. She currently works as an actor and producer of workshopped readings in schools, with Eagles Nest Theatre and as a social support worker with older Australians in the Macedon Ranges Shire. She is looking forward to sharing her work and ideas with her local community and in time and with ongoing support, across the broader regional landscape, in Victoria and beyond.

After protests erupt in Lebanon on October 17th 2019, the diaspora in New York comes together in solidarity with their people fighting for their rights on the ground, despite the broken promises of their government and their own broken dreams of a democratic country. Portraying a heart-wrenching duality between life in Beirut and New York, WE NEVER LEFT is an impassioned testament to Lebanese expats unrequited yet irrepressible love for their homeland.

Today in America, 1 in 3 women will have an abortion before the age of 45. Less that 2% of overall abortions are performed at or after 21 weeks. Yet this demographic has become the target of political misinformation and attacks. In SOMEONE YOU KNOW, we will meet three women who have had abortions later in their pregnancies. Bravely stepping out of the shadows to use their real names and faces, each of the women share their complex, heartbreaking and frustrating stories of having to overcome numerous burdens to get the care they needed.

A First Nations Urban Fantasy, THE UNWOVEN pulls you into a world on the brink of devastation. After her cousin’s death Jali decides to stay out of trouble and do something meaningful with her career. But Great Mother has other plans for her. The Dreaming stories Aunty told her were true: all of space and time is collapsing into itself, and Jali’s ancient connection to Great Mother thrusts her into the centre of it all. As Jali’s world descends into chaos, unearthed family secrets threaten to push her permanently away from her community and culture, into the corrupt world of Aunty’s oldest enemy.

FREE THEM ALL: SEED QUILTS is an effort to reclaim space from prisons, which are sites of violence, and serve as a joyful welcome to those who are liberated from these cages. Hand-dyed and handmade quilts made with flowering seeds will be installed outside a women's prison, and as the seeds germinate, they will produce a meadow of flowers at the entrance of the prison, to welcome people home, envelop them in love and a promise of community, leave behind something they don't want to carry forward from the site of violence, and take something into their future.

Featuring testimonies from online sex workers, CAMOPTICON is a multi-channel video installation that physically mimics the experience of being watched on the web. Since the passage of 2018's FOSTA/SESTA, sex workers have been blocked from social media platforms and payment processors while becoming subject to carceral technologies that disproportionately harm already marginalized communities. Housed within a panopticon peepshow structure, CAMOPTICON creates a sense of discomfort by placing the viewer in the position of the surveilled (the sex worker). The videos surrounding the peepshow feature interviews with sex workers speaking about their experiences from within webcam rooms where they typically broadcast shows to followers.

A series of interviews and textile art banners that create upcycled portraits of climate leaders in a way that reflects who they are personally. In the interview, I deep-dive into their interests, passions and drives for a climate future followed by the most self-deprecating and embarrassing story they are willing to put on record. Portraits visually frame these leaders as visionaries, alongside pull-quotes that show them to be utterly human. My goal is to disarm the need for heroes of the climate movement with a message that you do not need to be perfect to make real change in this space.

I developed life-threatening PTSD from being unsupported as a first aid officer in frontline climate civil disobedience. I hope this work can be a way to allow people to see climate leaders in a relatable light, as well as demonstrating that you can face something as dark and overwhelming as climate change head on, and still laugh at yourself.

My grandmother, Princess Silva Arrow of the Shinnecock Indian Nation, was affectionately called “Ma” by her children and grandchildren. My idea is to restore her home and turn it into an artist residency for BIPOC artists internationally, and a communal art space and mini museum.

She passed away in 1998 when I was 8 years old. We still call the home where we lived with her “Ma’s House”, and it was always filled with so much love and warmth. When she was young, Ma held mini-powwows with the whole family and other tribe members dancing and singing in our traditional regalia at the house. People from everywhere would visit and partake in viewing Native craftwork, handmade beadwork, and enjoy pony rides, archery, as well as eat traditional Indian corn, cooked in the earth layered under seaweed.

Ma had always wanted her house to be an educational museum space, a safe haven for all, and a place where arts and culture bring people together. As Ma’s youngest grandchild, I’m determined to uphold my grandmother’s wishes. I believe that “Ma’s House” can provide this space for BIPOC artists and all people who support and uphold moral values for equality, equity, diversity, and inclusion.

Set sometime in the future, Queenslander is a play in the idea stage of development. Lenny Diamond’s story; a young rapper and kick boxing champion, facing trial under anti-patriotic laws having been hastily introduced by the ultra-nationalistic Patriot Party who sweeps to power on an electoral promise to restore Queensland ‘back from the brink’.

Impacting the creative direction of Queenslander are contemporary political events in Queensland such as a Qld senator attending the same rally as neo-Nazis; AFP raids on journalists; One Nation soliciting support from US gun lobby; and emergence of The Lads Society. As well, witnessing the impact Trumpism has had on the democratic health of the U.S. during the COVID crisis has also impacted on my desire to progress this work from an idea to a developed script during 2021.

Just north of New York City, the Hudson Valley has a mystifying history. In David Levine’s The Hudson Valley: The First 250 Million Years: A Mostly Chronological and Occasionally Personal History, he speaks about an arson that takes place in downtown Albany. The fire was treacherous and was started by two young female slaves by the name of Brett and Dinah. Brett was twelve years old at the time and Dinah (nicknamed Dean) was fourteen. The account recalls the destruction stating that they burned approximately sixty percent of what downtown Albany was at the time. For their crimes, they were sentenced to be executed, and were hanged on March 14th of 1794. They were hanged at “Hanging Elm Tree Corner” located at the northwest corner of State and Pearl Streets in the Hudson Valley.

I am proposing a sculpture to commemorate the lives of Brett and Dinah. A wooden sculpture with a base in the shape of a Hangman’s Noose, but the noose being replaced with that of a candle lit lantern. I am proposing a sculpture that represents the permeable state of “freedom” in the country whilst at the same time refusing to look away from its historical past. The material would be Wood, Metal, Wax, and ultimately Fire.

This Harvard Political Review podcast project, “Roots,” will use the modern medium of podcasting in order to dissect Harvard’s historical ties to slavery and its impact on the present day. The finished product will be a series of episodes related to Harvard’s legacy of slavery, each taking on a distinct angle towards the theme while fitting within a larger narrative.

This effort would be a novel one, as Roots is the first long-form podcast project dedicated to analyzing the connections between universities and slavery. Further, as a Harvard publication, the HPR has much greater access to historical archives, scholars and professors, and student perspectives to weigh in on the conversation.

The podcast will expand this discussion beyond Harvard’s campus and invite people all over the nation to discuss academia’s ties to racial and ethnic exclusion, and how we can move forward to build an inclusive society.

Description goes Zola the Zulu Girl is a children’s book series about Zola – a young girl with an African dad & a white Australian mum. She’s growing up in Australia, but she also speaks Zulu, has family overseas & dreams about Africa. The series explores topics such as missing family overseas & learning about culture.

The first book Who Am I? was published in December 2020, and will be translated into Zulu in 2021.

The second Zola book focuses more on culture. In this book Zola travels to South Africa to visit her Gogo who teaches her to cook Zulu food, wrap her hair scarf, and speak Zulu.here

In the cultural vocabulary of the Igbos (my ethnic nationality) of the South Eastern Part of Nigeria, as with much of the Nigeria society, “They” is only used as a single person pronoun for God, which is an indicator of Him being genderless. Gender is still strictly defined; you're either male or female.

My project takes a critical look at the interplay between the various planes in which “They” exist in Igbo cosmology and “They” as a single person in contemporary Western society. It’s an exploration of two distinct cultures with no attempt to overlay one over another.

I'll make use of texts in my paintings, deconstruct archival footages of Gender non-conforming individuals in my society (as a single channel video format) as well as juxtapose them with stories of present day individuals embracing the pronoun “They” in my society and their reality and stage photographs to broadly contextualize this project.

This past summer, when I heard Breonna Taylor's name only after I heard George Floyd's name – even though she was murdered months earlier – I realized the women's side of systemic racism and incarceration is overlooked and unheard from. And their voices need to be heard.

My first book featured the stories of 15 formerly incarcerated men. This time, I will write about and photograph women from around the country – Black, brown, native, LGBTQ+, single mothers, economically poor – to document their journeys. I will share the stories of their lives: from their childhoods growing up, what happened to lead them to prison, the support they finally got that led to their transformation and how they show up for our communities today as a result of that.

Women and men go to prison for vastly different reasons. Men, as someone once told me, do knucklehead things when they are young, which escalate in a manner that eventually lands them inside. Women go to prison because they trusted the wrong man. And that trust is wrapped around trauma. Only when we as a society learn about these deep societal issues can we change the path of our fellow sisters.

Chronic Creators is a podcast that will tell the stories of artists living with chronic illness and disability. Producer and host Karolina Chorvath, a disabled journalist and chronic illness activist, will interview creators who are openly disabled and chronically ill — some who are just now ready to share how they spend their precious, limited energy to make an impact in the world.

Chronic Creators will examine art, community, and culture through a critical lens, investigating the ways in which our systems and values around art are often ableist. The art world — and the world more broadly — is ableist, meaning that our society and economy overwhelmingly favors able-bodied people and discriminates against disabled people. We will investigate who decides who is an artist, and how they decide, how artwork is valued and rated, how art is made and distributed, and how all of these things impact disabled artists.

The podcast will also explore the stories of famous artists like Frida Kahlo and others who were disabled. These stories are often hidden — even if disabled artists are able to gain acclaim and notoriety, their disabilities are not discussed. This podcast would work to unveil some of those stories.