Courtney Elkin


Curriculum Vitae

Education:

Ph.D. 2007

University of California, Los Angeles, Department of Theater

Specialties: American Theater Historiography

Native American and Chicano Studies

Performance and Cultural Studies

Critical Race Theory.

Dissertation Director: Dr. Haiping Yan

Dissertation Committee UCLA Faculty:

Dr. Juan Gómez-Quiñones, Dr. Patricia Harter,

Dr. Gary Gardner

B. A. 2002 Department of Theater

University of California, Los Angeles

Concentrations: Acting and Critical Studies.

Ph.D. Dissertation: Clashes of Cultural Memory in Popular Festival Performance in

Southern California: 1910s-Present

Languages: Spanish: reading, writing and speaking.

Teaching & Research Positions:

2007 Instructor, Human Cultures: Introduction to Native American Culture

Dominican University of California, San Rafael

Instructor, Eyewitness to History

Dominican University of California, San Rafael

Instructor, Indigenous Healing Traditions

Dominican University of California, San Rafael

Instructor, Film and the American Superhero

Dominican University of California, San Rafael

Instructor, Human Cultures: Race and Place in the USA

Dominican University of California, San Rafael

Instructor, Cultural Anthropology: Power & Culture

Dominican University of California: San Rafael

2005 - 2006 Research Assistant, Professor Hanay Geiogamah,

Director of American Indian Studies Center

University of California, Los Angeles

2004 - 2005 Instructor, Race and the American Drama

College of Letters and Science, University of California, Los Angeles

Teaching Fellow, Inside the Performing Arts

College of Letters and Science, University of California, Los Angeles

2003 - 2004 Teaching Assistant, American Theater History

The School of Theater, Film and Television, Department of Theater

University of California, Los Angeles

Teaching Assistant, Drama of Diversity

The School of Theater, Film and Television, Department of Theater

University of California, Los Angeles

Research Assistant, Professor Hanay Geiogamah,

Director of the American Indian Studies Center

University of California, Los Angeles

2001 - 2002 Teaching Assistant, American Theater History

The School of Theater, Film and Television, Department of Theater

University of California, Los Angeles

ArtsBridge Scholar, Creative Dramatics

Implemented original dramatic curricula to 2nd, 4th, and 10th grade public school students.

Conference Panel Presentations:

"Public Performance and Memory as Home: The Creation of Homeplace

through Performance of the Past in Santa Barbara's "Old Spanish Days Fiesta." American Society for Theatre Research Conference,

November 18, 2007.

"Inter-active Workshop: Planning and Funding a California Native Studies Program." California Indian Conference and Gathering: Building Community, October 27, 2007.

Conference Co-Host and Project HOOP Project Manager; "Project HOOP,

National Gathering 2006: The Second Half," University of California, Los Angeles, June 19-22, 2006.

American Indian Playwriting Workshop Facilitator; "Project HOOP, National

Gathering 2006: The First Half," University of California, Los Angeles

March 23-25, 2006.

"Dividing the Present by Performing the Past: Surrogation and Nostalgia in Santa Barbara's 'Old Spanish Days.'" American Theater in Higher Education Conference, August 4, 2006.

"Native Arts Towards Decolonization: An Examination of Jaune-Quick-to-See Smith's 'Paper Dolls,' and Hanay Geiogamah's 'Foghorn.'" The Southwest Texas Popular Culture and American Cultures Association Conference, February10, 2005.

"Dividing the Present by Performing the Past: Surrogation and Nostalgia in Santa Barbara's Old Spanish Days,'" presented at "(dis)junctions," University of California, Riverside's Annual Humanities Graduate Conference, March 26, 2004.

"Unpacking Ramona: Identity of Nostalgia in Hemet California's 'Ramona Festival,'" University of California, Los Angeles, School of Theater, Film and Television, Graduate Forum, March 11, 2004.

"Little (white) Women: Whiteness constructed in Alcott's Little Women And Split Britches "Little Women, the Tragedy." University of California, Los Angeles, Department of Theater, Graduate Symposium, November 5, 2002.

Awards and Fellowships:

Institute of American Cultures Pre-Doctoral Fellowship in American Indian Studies, 2006-2007, awarded by the Graduate Division, University of California, Los Angeles.

Cota Robles Graduate Diversity Fellowship, 2002 - 2006, awarded by the Graduate Division, University of California, Los Angeles.

ArtsBridge Scholarship Program, 2001- 2002, awarded annual support for excellence in teaching creative dramatics in under-funded elementary and high school classes.

UCLA Alumnae Scholarship for Theater Arts, June 1998, awarded by University of California, Los Angeles Alumnae Association.

Professional Memberships:

Member of American Association for Theatre in Higher Education, Latina/o Focus Group

Member of American Society for Theatre Research

Member of the National Collegiate Honors Society

Member of Environment California

Production Experience (most recent and selective)

Leading Roles:

The World Premiere of "Arlington,"roles: Sunsong/Betty/Iris, The Company of Angels, Sept. 2006

"Mrs. Warren's Profession," role: Vivie Warren, Foggy Day Productions, Mar. 2004

"Romeo & Juliet," role: Juliet, East India Theater Company, June 2002

Direction and Assistant Direction:

The Bay Ensemble, "Dancing at Lughnasa," position: director/producer, July 2005

UCLA Underground, "Spring Storm," position: director, January 2002

Marin Theater Company Summer Youth Program, "Much About Nothing," assistant director, August 1999

Professional and Personal Interests:

Grassroots theater, Shakespeare in performance, community issues & formation, Native cultural renewal, learning the Inezeño Chumash language, Environmental activism, Women's Studies, travel, cross-cultural intellectual exchange, live music & performance




1st Blog on Leaving LA:On comings and goings.


I’m sure this won’t be the last blog on the subject of leaving LA that I will write. After all, no number of songs on the subject matter seems to have exhausted the matter. Tom Petty reminds me that it isn’t easy “living in Reseda / There’s a free way running through the yard” as I “glide down over Mulholland” on one of my last trips from Echo Park to UCLA. I could dedicate an entire entry to night driving on Mulholland, those thirty minutes of rolling hills and glittering lights that fool you for just a minute longer that you’re here for a reason, and perhaps later I will. But for now, I’m driving my little Button, the black Rav-4 I shouldn’t have bought, but seemed so necessary while spending a good 2 hours of every day in traffic. And I’m driving her over the golden hills, around twists and bends trimmed with the late summer’s last sprays of fuchsia bougainvillea, taking in the musty whited-out blue skies of the valley, of that very Reseda and Ventura Boulevard that Petty immortalizes. I turn and look out my driver’s side window to where one might be able to see the ocean, on a rare clear day unlike today, and consider for the hundredth time who lives in those ostentatious faux Villas overlooking the remainder of the Hollywood Hills. Who “made it” here? And at what cost? It’s so luring and deep, so shallow and dishonest, but some of them must find their footing here, with backs straight and strong enough to withstand the constant spine-crumpling of hours in traffic and repressing road-rage. Maybe they have stronger desires, desires that somehow can be renewed by the energy of so much desire ‘round here. Maybe LA sings to them, a special lullaby that I can only faintly hear.

I could make you satisfied in everything you do
all your secret wishes could right now be coming true
and be forever with my poison arms around you
no one's gonna fool around with us
no one's gonna fool around with us
so glad to meet you, Angeles*


I roll down all my windows, enjoying the slightly cooler temperature of the start of fall, roll down my sunroof, push my driver-side seat back a few inches. Appreciate the view, the absolute hugeness of this sprawl. I let my body sway with each canyon turn and smile, despite myself. As much as I can criticize not only this city, but also the length of time I have spent here, there’s no denying the incredible memories I have of this place. I can remember the actual night it happened, Courtney pixie-girl falling in a star-crossed love with the City of Angels, such a strange misnomer for a place so soulless. But if you can find love in a land that invention itself created, against the laws of nature, with the power of water-moguls making it so, and on the labor of millions of hopeful stars, than I suppose LA has a soul of its own…one whose auspicious beginnings, oddly enough, guarantee its continuance.

And it's been a long December and there's reason to believe
Maybe this year will be better than the last
I can't remember all the times I tried to tell myself
To hold on to these moments as they pass

And it's one more day up in the canyon
And it's one more night in Hollywood
It's been so long since I've seen the ocean
I guess I should (Na na na, etc. yeah)



Speeding down Beverly Glen, like all the canyons, a green oasis promising a small break from the smog, a few bird calls, and splendid, unique looking homes, I blasted “Tiny Dancer,” which always makes me happy to be driving - almost flying really - today into Westwood, land of my LA homebase, UCLA. Blue jean baby, L.A. lady, seamstress for the band Pretty eyed, pirate smile, you'll marry a music man. Maybe because of my bad eye sight, or because I almost never watch TV, I have never really found myself star-struck here. I was never the one who wanted to go out to the Sunset Strip clubs for my birthday, or for drinks at MoonShadows in Malibu. Rodeo basically disgusts me, and there isn’t anything there I can afford anyway. To be fair, I did have a brief obsession with the LA indie music scene, and even hosted an internet radio show for a summer, but that came to an abrupt end as soon as I started cocktailing at a live music venue/hipster club in Hollywood and saw the scene for what it was: the disillusioned, apathetic, over-privileged youth with time on their hands to wander through bins at Goodwill or surf for “Vintage Converse” on E-bay and under-tip their over-worked waitresses, who sorta can play the guitar or drums.

So what do you do?
Oh yeah I wait tables too.
No I haven’t heard your band,
Cause you guys are pretty new.
But if you dig on vegan food,
Well come over to my work,
Ill have them cook you something that you’ll really love,

Cause I like you,
Yeah, I like you,
And Im feelin’ so bohemian like you,
Yeah, I like you,
Yeah, I like you,
And I feel wahoo, wooo


I used to blast that song at the Brite Spot, the trendy all night diner I waited tables at for the past year and half. We’d get the most random, fabulous crowds of misfits: the hippest of the hipsters, drunk or determinedly sober with their comrades drinking black coffee and vegan country fried soy chicken dinners, groups of Episcopal priests sitting next to biker-dike lesbian couples, hardcore tip-stealing Rastafarians waiting for Dub-Club to commence at the Echo (rock club) next door, church-going families, lonely men and women who got the feeling of Cheers when they would walk through our orange and puke green doors. I loved that job, and this Wednesday when I work that counter for the last time, serving coffee and lentil soup to my handful of regulars, I know it will be more bitter than sweet. The Brite Spot’s been good to me. My friends have been good to me. School has been good to me, although I tend to forget that UCLA was even attached to my more recent LA experience. The sun and beach and hills, at times, have been very good to me too.

I drive on her streets
cause she’s my companion
I walk through her hills
cause she knows who I am
She sees my good deeds
And she kisses me windy
I never worry
Now that is a lie



Perhaps this entry seems cynical of me, and little unoriginal too. After all, everyday people are packing up and leaving LA, and feeling all sorts of feelings about the time they spent here, and what will come of saying goodbye and moving on. Sometimes when I think of my family and best friends breathing the cool, clean air of Northern California, I am absolutely positive that my decision to leave is the right one. When I imagine the majesty of Marin’s headlands and the Golden Gate Bridge stretched across that grey-green water like a masterpiece watercolor painting, I know deep in my belly, that this is time to move on. But of course, there will always be a piece of Los Angeles, the City of Angels and all it represents, inside me where ever I go and to be sure, a piece of me will remain within these city streets, canyon hills, and the sparkling Mulholland cityscape.

Purple nights and yellow days
Neon signs and silver lakes
LA took a part of me
LA gave this gift to me

So drive me down the 405
Where my airplane leaves tonight
I'm tipping up and touching down
Leave LA sparkling on the ground
LA glitters on the ground
LA sparkles on the ground
LA glitters on the ground
LA sparkles on the ground



Half-assed Discography in order of appearance: Tom Petty “Free Fallin’” Elliot Smith “Angeles” Counting Crows “A Long December” Elton John “Tiny Dancer” The Dandy Warhols “Bohemian Like You” Red Hot Chili Peppers “Under the Bridge” Red House Painters “Cruiser”

boating anyone? Martha's Vineyard on the dock

lil' purple pixie

& You Tube presents

BUSHISM THEATER



with this in mind CLICK and hear a cool parody.


Button A little political humor -- wait, is this funny or tragic? -- for you all. The world is a scary place I worry these days. Since my dad has succeeded in making his distraction my distraction for some time now, I will try to keep in the RanchoBozo spirit of honesty and patriotism: ie FREE SPEECH! Also -- SOME REALLY TERRIFIC NEWS: I was just awarded the UCLA Institute of American Culture's Predoctoral Fellowship in American Indian Studies! This is a year long grant which covers my fees, tuition, and awards me a $17,000 stipend so that I can keep my lovely joe job at the Brite Spot, part time!!! FOR THIS, AND SO MANY THINGS, I AM GRATEFUL! So I will continue to work on my big ol' endless paper called "WE ARE HERE, Clashes of Cultural Memory in Popular Festivals in Southern California 1890s-Present." I just moved to the Silverlake Hills, closer to my little spot of joy/$$$, The Brite Spot, where I wait tables and eat too often. Life is good in LA LA LAND! Next on my agenda? Securing work (both adjunct professorship stuff and hopefully acting/directing) for next year. And...I just got my VERY own 1.) lesson in car buying (ie. young woman in LA should NOT even attempt to brave the dealership alone!) and 2.) 2001 Rav4 L !!! So it's not exactly a Mini Cooper...but it is a Mini SUV (And one that gets gas milage like a compact car; and it's best in its class!)



Brilliant Idea!!!

Due to research time constraints and the immediate threat posed by impeding post-post-modernity, I have decided to officially change my PhD dissertation topic from “Clashes of Cultural Memory in Popular Performance in Southern California: 1890s-the Present” to “Wireless Terrains of Empowerment: MySpacing as Individual Resistance to Institutionalized Productivity.”




Arlington
National Cemetery for the United States Armed Services

An epic new play by playwright and screenwriter Garry Michael White (Mr. White’s Screenplay for “SCARECROW” won the 1973 Cannes Film Festival)

In June, Travis Michael Holder of BACKSTAGE WEST said... "There are countless clarion calls to end war and warring these days, a message repeated endlessly in the hope that someone at the top of the power grid will listen to what the people have to say. Some of these statements are obvious and harshly stated, but Garry Michael White's subtle antiwar play has a message both gentle and heart-rending....(the play)...explores the lives of those left behind in war....a haunted journey we hopefully won't soon forget.” ARLINGTON reveals America’s lost innocence, by exploring the palpable evidence of the United State’s constant, insatiable thirst for war. ARLINGTON shines on the struggle to maintain our humanity, and hold onto our declining virtue. The play glimpses into the post-9/11 future of our souls, as set against the wars in our country’s history. In this play, no battlefield blood is spilled; no foreign soil is touched. In the end, ARLINGTON is a moving, occasionally humorous play about the reaches of war, and the inevitable ways in which we conquer ourselves.



directed by Curtis Krick and Sean Dillon produced by Tony Gatto set design by Mina Kinukawa light design by Benjamin Anton dramaturgy by Yael Prizant

Every FRI and SAT at 8pm until SEP 30 and Every SUN at 3pm until SEP 24

tickets/reservations/info: 323-883-1717 or www.companyofangels.org/arlington

Tickets: $18/$15 Company of Angels Theatre 2106 Hyperion Avenue (at Lyric Ave in Silverlake) LA CA 90027

original art and design by GennaBERKELEY, CALIFORNIA - The Bay Ensemble is the Bay Area’s exciting new professional theater company devoted to bringing the classics to a modern audience with a fresh perspective. The Bay Ensemble’s artistic director, Danya Solomon has created an exceptional ensemble who’s core members grew up in the bay area, and matriculated from the UCLA School of Theater, Northwestern University, The Juilliard School and Belloit college. Dancing at Lughnasa will tour the Bay Area for three weekends only, from August 12 through August 28th. To purchase tickets to this event call the ticket hotline at (510) 658-8835 and ensure your seat for this must see production. Tickets are only $15.00 pre-sale and $20.00at the door.

DANCING at LUGHNASA ~
Dircted by
Courtney Elkin

Thumb Sketch: This is the moving tale of the Mundy Family in Donegal, Ireland in the year 1936 struggling to preserve their family dignity and love for each other within a changing era. It is August in Ballybeg, and the time when the pagan festival of Lughnasa brings a dance induced fever to this Irish Catholic town , and with it, the battle between the old and the new, obligations and dreams, missed opprotunity and leaps of faith. Through laughter, music, dancing, story telling and the simple art of communication- Dancing at Lughnasa is an Irish gem and has become one of Ireland’s most revered plays of the twentieth century.

CAST:

Agnes: Laura Benitez Chris: Marlene Katz Father Jack: Bruce Orcutt Gerry: Travis Engel Kate: Jan Zvaifler Maggie: Ariel Puglia Michael: Russ Ward Rose: Danya Solomon



BASIL ONO AND MATEO THE DREAD-LESS: by Courtney © 2005

Mateo was all about “sentience” and “magnanimity” the little purplepixie learned after her second and his third cup of coffee, sitting in the smoky diner they often frequented. The Brite Spot was a kind of a refuge for this particular nook of the busy Los Angeles maze.Photobucket - Video and Image Hosting This warm summer evening, the fan in the kitchen was broken, so that the Brite Spot took on an ironically hazy atmosphere; light ran in opaque white streams through the double glass doors and the slits in the blinds above the maroon booths, and in solid stripes along the glossy formica tabletops. The distinct fragrance of bacon and cheap maple syrup lingered in the warm temperature, sweetening the air surrounding pixie and Mateo’s conversation. She batted her wysteria eyelids in confusion and genuine interest in his direction, a nervous habit that had become considerably worse since she began working at the diner in the presence of so many male-shaped angels and demons. Mateo continued to stare almost straight forward and would occasionally, but effectively, rotate his upper torso to look into pixie’s iris eyes if only momentarily for the gesture of a connection before his blue-gray shyness returned and caused him to look away. But his shyness may have been another cloak, pixie thought.

Mateo drank another sip of his coffee and flashed his mint-pool eyes, his cheeks dimpling as the corners of his mouth turned upward in an almost cherubic smile. “Satellite of Love” by Lou Reed came over the speakers in the exact right moment in Mateo’s soft-spoken monologue on the subject of love. Moments like that – synchronicity of music to thought – were due to serendipity at the least, either that or Basil Ono was on his way in his 1982 red Volkswagen Fox and had called out the muses as he drove west on Sunset Blvd.



Pixie was amazed at Mateo, who had only a week ago cut off his waist long dreads. She was amazed because she had never talked him before without Basil intervening and drawing her focus away from the barely audible tatted-up man. He had an exceptional oral vocabulary, wound words and images together in tapestries that always had the perfect beginnings and endings, with complicated tangents sewn within. He said that he preferred to not simply quote books, but to use his original thoughts instead. But they both realized that most of his perfect-paragraph-tapestries were buttressed by quotes from T.S. Elliot, Einstein, and Nietzche.

Besides embodying various hues of the violet spectrum, and being quite inquisitive, Pixie was a smarty, as far as sweet silly gals are concerned. Still, she didn’t know exactly what to make of Mateo, even in the calm of Basil’s temporary absence. She had read some basic nihilist thought, certainly knew, in some detail the contributions Einstein and T.S. Elliot had made to the intellectual world, and why someone concerned with the nature of “sentience” and “magnanimity” would have trouble paying verbal tribute to these geniuses. Although Pixie was not momentarily foggy on the exact definitions of these two paradigms, she attempted to follow the essence of what the now Dread-less Mateo spoke, figuring that open attitude was probably in part, magnanimous.



---NOT DONE...MUCH TO COME---

The little purplepixie realized much later, that in fact, sentience, by definition, was reactionary.
Courtney delivering a paper at the University of New Mexico





I pulled this from a catched entry from cyber-remains of the old FIREpit . . . a lovely poem . . . by a lovely daughter . . .

Title: one poem... Author: Courtney Date: Jun 6, 2004 6:28 pm
Not always fireworks



I counted the stars in your eyes tonight
Tiny pricks of dull white light
Flitting around in an ocean of coffee
Like flecks of cream too cold to marry
with all that hot liquid.


In a dizzy mess of syllables
You blinked away those stars
Conquering the demons of hope and possibility
(in favor of retracted tenderness)
You surely emit your propensity for distance.



In a tepid gesture of feigned connection
I stare at the small streaks of night crystallizing
On the plate glass window shield,
Brush back my hair and attempt to dodge the spikes
of your stone-cold apathy.



All I wanted was to swing
From your outstretched arms and regal neck
Like a child spider-monkey – without fear or silence
Flight from my firm belief in your stability.
And faith in my own constant ascent.



We held our breath and wished for fireworks
I squeezed and smoothed your hand
In bitter sweet anticipation
For that pop and burst of color
To ignite against the moon-bleached sky.
>


Listless, we walked all night
Chasing those invisible impossibilities
Ruminating in the awkward space of in betweens
A thousand purple maybes danced around our feet
And like grunions, silverly dived head first into the sand.



To our left was Mount Olympus
And at our backs the melt of tangerine volcano rivers.
The sky is a rouged mess of fog and ambient light
Framed with the black outlines of tangled trees
And unspoken disenchantment.


The fickle Gods laugh at our meager endeavor
To breathe in those perfect visions
(As if we could stop staring at our own empty hands
Long enough to taste some true appreciation)
So we cowardly cast our eyes downward, too ashamed to see.



You speak words to me like luke-warm water
Peeling away layers of passion, reveal some seed of discontent.
At the loss of words in one tall night
I bend myself inward and lament
Those evasive fireworks and perfect maybes left still silent.
06/06/04







The Age of 25 in 2006:

Never, not even once when I was a dreaming visionary soul of a child, did I imagine that I would be living in Los Angeles and working in front a computer at UCLA writing about Native American Performance and desperately attempting to FIND MYSELF while in the process of continuing my continuing education. NEVER! Are you happy(?), you ask. Yes, yes. I am happy. Are you fulfilled? Eh.... My happiness comes from my overall approach to life. There comes a point when one must be honest with oneself. Look oneself in the mirror and accept that person staring back with all her beauty and various limitations. Me? Well, I am a friend. A lover. A daughter. A sister. A granddaughter. What makes up my day is many thoughts about the world and people, more specifically: the state of education, the state of world peace, the feeling and notion and comfort of God(s) and awareness, the future of me, my loved ones, the MamaPlanetEarth, (wo)man(kind), music, theater, the arts, the lost primacy of print culture, the frightening and exhilerating promise of internet/computer/wireless/information/overcommunication culture, post-modernism in the home, workplace, schoolhouse and playyard, the promise of something always around the corner better and sweeter and more lovely than anything else I have experienced, and the JOY (there really is infinite JOY) that cultivating and nuturing relationships and love brings. (3/10/06)


Title: rite of the first born Author: Courtney Date: May 4, 2004 1:36 pm Hello all:

First off, I am obviously Daddy's favorite. Second of all, the Boz was my first home; I actually lived there - so I get claim over it. Third of all, this is pretty cool Dad-dee-oh!!! rite of the first born - Courtney 05/04/04 - 01:36 pm

bye bye LA

Courtney sitting in front of the Brite Spot

Good Bye New York City with her little sister graduated there's no pressing urgency to return . . . in the near future . . .



This is how strong love is . . . sometimes you don't know how fortunate you are until you have a glimpse of what it would be if it's all swept away . . . that's how strong love is . . .

enjoying every moment in NYC


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