by Cameryn Moore
I think I have spent more time this year occupying the first reading of the title of this column: creating abroad. Without any clever visual/typographical puns, I have been dwelling on my creative process as it relates to art, community, festivals, and other strange lands, both inside and out. What am I creating? New works, new relationships, new models for joyful release and collective engagement.
The more I practice listening, the better I am at hearing. That’s a useful development.
New and humbling experiences in hosting shows… oy. Those have brought me face to face with my own ego, vestiges of insecurity and scarcity mentality welling up instantly, shocking the shit out of me, to be quite honest. I thought I was done with that, I’m 42 years old, for fucks’ sake, shouldn’t I be past that, past a naked greed for my own time on stage? Nope. Apparently not yet.
As insecure as I can still be, as shaken as events and reviews and occasional walkouts can still leave me, there is still an emerging sense of … skills being developed, or given room to bloom. These are things ranging from my street-promo geekness to sidewalk smut to solid OKCupid protocol. It is not so much that I am getting good at these things, doing them and thinking about them, but that I am excited that I still have those things to learn, that surely something else will come up during my travels or creative work, something that I will have a pressing need to get good at, to immerse myself in, and those recent additions to Things I Can Do Well tell me that I can still learn and get good. I’m not too old for this fuckin’ sport.
Cameryn's Moore's piece, slut (r)evolution, is playing, currently, at Montreal's Zoofest