ICIM Founder's Forward

My name is Yohannes Sharriff Smith.  I am founder of ICIM (Intuit Creative Ideas Manifested, Inc.).  During 1997, in conjunction with the publications and promotions arm of the corporation, I traveled more than 8,000 miles across seventeen (17) states, promoting my new book THINC (Teaching Humanity In New Consciousness): 'The Chrysalis Of Evolution', and participating in the National Poetry Slam.  These experiences afford me a real appreciation for struggling artists and performers trying to launch careers in the entertainment, business and literary fields.  Especially, in light of the fact that at twenty-two (22) years of age, I am an author, publisher, poet and performer, yet still, like hundreds of young artists and performers, I am locked out of real opportunities to compete in what should be an open marketplace of ideas and talents.  My experiences over the last three (3) months reveal a desperate need for avenues of expression aimed at young new-generation artists and performers struggling to develop careers.

Observations here are antidotal, but since there is no research in this area, the perspective provided constitutes the best source available.   Conservative dominance of America's social agenda and its dictatorial hegemony over artistic expression have effectively chilled efforts encouraging grassroots projects aimed at increasing access to the arts. Increasingly, audiences served reflect the socioeconomic demographics of that conservative constituency.

Presently,venues affording opportunities for performers and purveyors of the spoken word reflect this very conservative, restrictive, discriminatory perspective.  Their formats are laden with stereotypical visions of young performers as body piercing, lock wearing, gangbanging, drug dealing, and welfare brats, who do not want to work.  From their anti-youth, generation-X perspective, young artists and performers who reflect an image inconsistent with popular culture invite their conservative wrath.  Professional writers, tenured academicians and media types of all hues who have established perspectives and reputations create venues.   Therefore, the messages these young artists wish to convey are of no interest; their performances are discounted as "too non-traditional," and the artists is given the cut direct.

Countering such a pervasive stereotype is all but impossible for young new-generation artists and performers.  Waging a cultural campaign for the minds of these audiences would be unwise professionally and counterproductive.  This state of affairs has produced levels of frustration that can drive creative expression into anti-social channels.  The lack of opportunity represented by this situation has historic roots, but solutions are today's stewardship.   The artistic and business communities must recognize the need for increased access to the arts, so that all segments of the community can develop aesthetic appreciation.

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