Q: Was there a particular event that that fueled your desire to make the film Voices in Wartime? Do you have a personal experience of or reaction to war that made this film something that had to get made‚Äîand by you? What fueled the passion in the film, the anthology and the project, to create a less violent world and to heal the trauma caused by war?
CHAC: You‚Äôve done some amazing work creating the Voices in Wartime Education Project. What is the role of the Project in your artistic endeavors, and how has this effort inspired and led you to create Revival?
I have been developing an extemporaneous monologue based on my memoir Revival, and last Tuesday I first performed my monologue in public, at Richard Hugo House in Seattle, on the same day Barack Obama gave his extraordinary Philadelphia speech about race. Barack said that while he condemned and rejected certain views of his black pastor, he could no more disown Rev. Wright than he could his black community or his white grandmother who had expressed her own bigotry.
By the fall of 1969, frequent demonstrations against the war had become a major irritant to the Regents of the University of Wisconsin, and they passed a law forbidding the use of loud speaking equipment on the public college campuses of Wisconsin for any political purpose.
A new friend of mine, Mark Jones, met the Dalai Lama a few years ago, and asked him for his thoughts on how to work for peace. DL said, simply, "People want to be heard, seen, and loved in that order."
This past weekend, I spent my time with forty others on Whidbey Island, Washington at a retreat on "The Art of Hosting Conversations that Matter" -- a practice for all who aspire to learn and find new ways of working with others to create innovative and comprehensive solutions. The Art of Hosting is also a leadership practise focused on creating organizational learning, development and change through meaningful conversations that support commitment and ownership and release the power of collective intelligence.