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Category: Miscellaneous (page 1 of 3)

Season of hidden hope

a radio musical

November 23, 1993

1

Walking along
cold dark homeless
roads
clogged with ice fears,
my only friend
is the wind
chilling my bones
into longing
and lost
and beyond…
into a cynical loneliness.

Herding my sheep,
looking in windows
of unattainable desires,
looking at presents
useless
because
I don’t have anyone to give them to,

looking into the past
soft colored warm homes
that are no longer mine.

Everyone has left,
everyone is gone.

Even the sun has left
long ago,
long before the manger.

And the sun
will not come back
ever
again.
This is the season
of dark depression
and fragile suicide.

Yes,
I know
I can always bum up
the $29.95
to buy
the plastic hope and faith
at 7 Eleven
and pretend
it is my wonderful life
playing
in the video store’s window.

But instead
I wrap myself
in a jaded pretense
of dry ice isolation
of not caring,
and drinking
the stale
but warm wine of regrets.


2

The birth
of new hope
has always been hidden within
the long cold
winter darkness.

Huddled together,
clinging to our tribal warmth
as our only protection
against dying
into the scary
black
unknown,

we always have been blind
to the evergreen
hope of life.

It has always been
the first time
the sun
and easy hope
have gone away.

So we always think
they will never
come again.

The evergreen hope
has been hidden
away
in the womb
of the humble
and in children’s dreams.

The forces of greys
have always overheard
the possibility
of the hidden hope…
have always searched
for it
to pervert it
into human isolation…
or,
failing that,
to kill it
for all time.

But the forces of power
always overlook
the hidden human hope
rocking
in the baby’s cradle.

As power
goes on a desperate killing,
chopping
hacking
gorging,
eating
the old world up……
we huddle together
in the silent night
upon the hill,
rocking together
in our tribal body warmth.

The shaman,
the holy woman,
the medicine man
have always shifted
our attention away
from the dark
cold
outward
fear,
have always shifted
our gaze
to the guiding light
of new birth…
at first
in the stars,
then in the roaring
tribal fire
which pulled
all human feelings
within it,
and still later
into that corny
home hearth
crackling
with bright colors
popping.

Into this fire
we have always gone,
hearing
the drumming
of our innocent heart
beating
in a slow excitement,
meeting
again
our love of life.
We curl up
with our love
and wait
for warm spring
to arrive…
as hope grows
into knowing.


Christmas Card, digital painting, 2008 by Frank Moore
Christmas Card, digital painting, 2011 by Frank Moore
















A “Frank” Email Exchange

In 2005, Frank did a workshop series at a space in San Francisco. Here is an email exchange after the fifth workshop of the series:

From Robert:

Hi Guys-

First off, I enjoyed the workshop on Friday. The energy it sent into me and the community has been VERY palpable. We’ve been on a big ride there. Personally, I felt dancing with Adam broached a lot of subjects with me that I’m slowly sorting through.

Onto less fun things. I’ve been talking with our lawyer pretty extensively over the last few days. He is very concerned on a lot of levels about what happened on Friday night. His concerns, after talking about them, are valid in our book and we’d like to make some changes immediately. He says, and I agree, that not doing so puts our space in jeopardy.

(1)     We cannot video tape the workshops anymore

(2)     We cannot have the past five workshops being broadcast on Berkeley Public Access television

(3)     We would like any mention of our space or any of our names taken off your website

(4)     In future emails/promotions, please use only our first names and not our last names

(5)     And, we would like the return of the 5 video tapes of the first five workshops so we can destroy them.

Please call me at xxx.xxx.xxxx to discuss or email is fine as well. I am sorry it is going this way but in this era, it seems prudent.

Regards,

Robert

Monday, April 18, 2005



Frank’s reply (in bold):

Frank: Robert, I’ll respond throughout your letter to you.

Hi Guys-

First off, I enjoyed the workshop on Friday. The energy it sent into me and the community has been VERY palpable. We’ve been on a big ride there

Frank: Yes, it is very powerful how it is developing on all levels. But it is an on-going journey, more than a “ride.” The word “ride” suggests a thrill ride which trivializes the journey of the workshop. I know you see the workshop deeper than a thrill ride. We are journeying outside the walls of fear, isolation, etc.  I wouldn’t be doing my job if I agreed to let those same walls limit, contain, undermine, that magic journey within the workshop. That would totally kill what is growing within the workshop. And I have not done that in 40 years of doing this in THE REAL WORLD. I don’t plan to start now.

Personally, I felt dancing with Adam broached a lot of subjects with me that I’m slowly sorting through.

F: Yes, everyone got a lot out of it. And that liberation spreads out into the outside world through broadcasting it, through webcasting it, through writing about it, etc. It would be extremely sad to deny them this out of fear generated by a lawyer. According to him, what happened Friday night? What happened that didn’t happen in the other 4 sessions, including the first one he was at? What are his “concerns?” What would jeopardize your space? How? You kindly offered me your space to do my performance/workshop after I described what I had done in my series at U.C.B….including videoing every session to play on luver, b-tv, etc. This was during your first appearance on my SHAMAN’S DEN show. So you knew before you offered that we would be videoing the sessions. You knew that videoing was part of my art/work.  We have videoed all 5 sessions with your full knowledge.  So the below ultimatums are surreal!

Onto less fun things. I’ve been talking with our lawyer pretty extensively over the last few days. He is very concerned on a lot of levels about what happened on Friday night. His concerns, after talking about them, are valid in our book and we’d like to make some changes immediately. He says, and I agree, that not doing so puts our space in jeopardy.

  • We cannot video tape the workshops anymore.

F: This would end my doing the workshop at your space. This is your right of power.  But it would be a shame. And I don’t think that is your desire. It would be impossible to do the workshop without the freedom.

  • We cannot have the past five workshops being broadcast on Berkeley Public Access television.

F: As you know, they have been playing on luver and b-tv…as have the two SHAMAN’S DEN shows you guys were on. You can’t put the genie back in the bottle.  The workshop is/was a public event of my work.

  • We would like any mention of our space or any of our names taken off your website.

F: Why on earth would you want that? Rather insulting. But I don’t hold that against you. Fear is irrational. But we have a history together. I don’t erase history.

  • In future emails/promotions, please use only our first names and not our last names.

F: Again, why? No. And hey, how many good looking ROBERTS are there at your space?

  • And, we would like the return of the 5 video tapes of the first five workshops so we can destroy them.

F: Those tapes are of my art/workshop and are the property of Inter-Relations. Your space has no right to them. RETURNING IS AN EXTREMELY STRANGE WORD to be using. But then so is “destroy” art and history.

If I were you, I’d fire that lawyer…or at least get a second opinion!

I am sorry it is going this way but in this era, it seems prudent.

Regards,

Robert

New NONFILMS Minisite

We have put together a new minisite featuring all of the videos that Frank called NONFILMS:

https://eroplay.com/nonfilms/index.html

Here is what Frank wrote for Vimeo about this series of videos:

Today we put up the first in the series of private performances I did in the early eighties. I now am calling these NONFILMS. These were also the raw footage of my films EROTIC PLAY and THE NUDE CAVE. I told the people we were filming I was doing a film. So I made films! But basically I was bringing back the concept of NONFILM which I played with in the early seventies and now videoing these private performances.

From Art of a Shaman, Chapter 7, NONFILMS:

Ever since college days, I had been writing nonsense scripts dealing with nudity and nonsexual eroticism. Also during my college days, I read such books as Toward a Poor Theatre and The Theatre and its Double. But it was not until I and my communal family took a very intense film‑making course in Santa Fe in 1972 that I was able to put my weird ideas into performance.

We made films of rolling nude down a hill, smearing bodies with baby food, nursing by a sexy woman. But when the film course was over, I did not have money to make films. I could not see putting my energy into getting money to make films, could not see putting up with the compromises and outside control involved in an artistic context requiring big bucks. For me, the act of breaking a taboo is what is magical, what effects change…not someone seeing it in a film.

This not having money, this not wanting to be controlled and limited by money, was what sealed me into a performance life.

So I started looking for a way to work with people. I wanted to see people nude, and touch them, and to create an intensity between us.

I had been painting oils for years, painting with a brush strapped to my forehead, painting nudes from magazine photos. One day, a rich woman asked me to paint a nude of her. My wife set me and my paints up in the fancy living room as the woman undressed. On that day I realized how art can give people permission to do what normally is forbidden. It gives a frame that switches realities from the narrow normal reality to the freeing altered reality of controlled folly. If you go up to a stranger on the street and ask him to show his body to you, you will be lucky if he just walks away and does not hit you. But if you sincerely (and sincerity is a key) ask him to model for a painting or be in a video that involves nudity, there is a high chance he will do it because you are offering him a key to a new, different, and temporary reality.

This began my street series. I sat on the center plaza, “selling newspapers”. But selling papers was only a context. The context for me was an excuse for watching people, talking to people who had the slowness and the insightful curiosity to stop and talk…a way for me to ask them to model for me. These special people were my real targets for my street pieces. They saw past the mask of the cripple. The masses used the mask of the cripple to relieve their guilt, to reinforce their fragile superiority of being “normal”, to make themselves feel better by throwing money (up to $20 a throw) at the less fortunate at whom they would not even look. The third type of person was made up of the poor and the kids who gave money as a pure spiritual act. When the special person stopped to talk, a crowd gathered around to listen. Money fell on my board while I was asking the special person to model.

The newspaper selling quickly fell away. All I had to do was sit there on the sidewalk, being available to talk. It did not matter that I dressed fancy, or had a sign saying “I don’t want money; I want you”. The money kept falling. But I did discover that there are special spots and special ways of sitting which attract people. Sit at a slightly different angle, or on a spot a few feet away from the special spot and you become invisible.

I have done these street performances across the country. I have gotten tickets to the Joffrey, filled a couple of workshops, got my cameraman for one of my films, all from the street pieces. I almost caused a riot in front of Caesar’s Palace in Atlantic City, N.J. The crowd did not take kindly to the casino guards trying to push me away because I was taking Caesar’s money.

I painted a lot of the special people from the street performances. I noticed the changes in the people when they took off their clothes; how they relaxed, how they started talking on a deeper level about important personal things. After I got a taste of direct inter‑personal acting out of erotic dreams, painting became too static. I began a series of private performances called Nonfilms. I asked the special people from the street performances to come to my home, into my study which was my first cave. Within this cave, cut off from the normal reality, we created scenes which no camera would shoot, nobody would see. Although I had played with my friends before in nonsexual eroticism, this was the first time I tried to use “sexual” acts in a nonsexual art form. I was surprised with the power that this released. Because of these scenes, the people started talking about their lives during these sessions and said it helped their other relationships. Not one person minded that there was no film. These nonfilms were the base for my career in relationship counseling.

I first noticed the nonlinear effects of private performance in these secret rituals. People whom I approached on the street came to me weeks after the nonfilm, the person usually reported changes in his life, in his relationships, in how people were towards him…all of which amazed him (and me too) because he hadn’t told anyone that he had done the ritual. Part of the change in how people related to him can be explained linearly by the change in the person emotionally and even physically caused by the performance. But this does not explain how things “just happened” to him, things that were improbable, things that we both linked to the ritual.


Here is a selection of stills from some of the videos:

Here is NONFILMS, Episode 7 of the web series, Let Me Be Frank:

Internet Archive is the new home for Frank’s videos

Frank Moore’s videos are now being uploaded to the Internet Archive, http://archive.org

They can be found on the Internet Archive here as they are uploaded: https://archive.org/details/frank-moore-archives

As they go up on the Internet Archive, we will put them back up where they are missing on this blog and on Frank’s website, https://www.eroplay.com/

Poetry Bash, Fort Mason, San Francisco 1988.
Photo by Linda Mac.

How to Handle an Anthropologist on KPFA

Michael LaBash, Jovelyn Richards and Linda Mac

The new book, How to Handle an Anthropologist: Russell Shuttleworth, PhD interviews shaman/performance artist Frank Moore, was featured on “Jovelyn’s Bistro” on KPFA’s Cover to Cover Open Book, August 21, 2019. 

Linda Mac and Michael LaBash joined Jovelyn Richards in the studio for this live broadcast. Listen to the interview here:

About Jovelyn Richards:

“Sometimes We Need Art, More Than Food & Water.” Jovelyn Richards interviews artists who explore emotional intimacy through their narratives within theatre, film and literature, along with voices less heard. She talks with artists who explore emotional intimacy and the fringes of our culture. Jovelyn Richards is a writer, international performance artist and speaker. She holds both an MA and MFA in the Humanities.

For more about the book visit http://www.eroplay.com/hthaa/.

Frank Moore’s Vimeo account was terminated!

On Wednesday August 21, 2019, Vimeo abruptly terminated Frank’s account for violating their “guidelines”.

Frank had over 700 videos in his account that we have been uploading on a weekly basis for over eight years. His videos had over 33 million plays on Vimeo.com.

It will take us a while to get them all back up at a new place … but they will slowly start appearing on the site again as we upload them to their new home!

The other casualty of Frank’s account being terminated is the Vimeo group that Frank created called Nude Performance Art Dance and Video – EROART. This was one of the largest groups on Vimeo with over 14,000 members. It was part of the collateral damage of Vimeo terminating Frank’s account.

Connie

Frank’s mom, Connie.

Connie completed the fading into death
this afternoon.
She has always lived in her young mind,
always was a black sheep,
raising black sheep,
always wanted to know,
always hungry for education,
NO MATTER WHAT!
WHATEVER IT TOOK!
Deaf to CAN’T,
to dumb rules!

No time for social frills,
no time for BS,
no time for limits.
Just time for deadpan joy of just everyday,
for no-nonsense love,
for pushing and demanding for
possibilities.
She bit,
or pretended not to hear,
just going for what’s right
like a tank…
running you over.

You were a fool
if you believed
her mcgoo act!
Hero? Yes!
Always growing beyond
working in a doctor’s office,
after getting a college education,
after the leaving of Jim,
threatened by his black sleep wife,
after pushing me onto THE REAL WORLD,
after raising Jerry and me,
after getting out of Utah as a free thinker!

Just taking Tums and aspirins,
Connie at 79 lived a very rich life…
always young in life…
now always
will be young!

Jerry and I are so lucky
to be in the black sheep family of
CONNIE!

 © Frank Moore 5/19/2000

Frank’s Letterboard

Here are some of Frank’s old letterboards … construction varies depending on how they connected to Frank’s wheelchair. Frank designed all of his letterboards starting back in the 1960s.

Frank in New York City, NY circa 1974:

Circa late 1970s:

Also circa late 1970s:

Frank on the boardwalk in Atlantic City, NJ, August 1984:

Street performance in front of The Lab, San Francisco in 1988 with a letterboard mounted on plexiglass:

Board circa early 1990s that Frank used on his “motor” wheelchair (painted by Mikee LaBash):

Frank and Linda Mac on University Ave circa 1990. Photo by Jim Appleton.

Board mounted on plexiglass circa early 1990s used on Frank’s “push” wheelchair (painted by Mikee LaBash):

Frank and Linda Mac during Frank Moore’s Shaman’s Den on FAKE Radio circa 1998/1999 with another plexiglass board:

This board was used through the 2000s until 2013 (board construction by Alexi Malenky, painted by Mikee LaBash):

Frank and Linda at Risk For Deep Love October 2012.
Frank is now using a laser pointer.

This “adjustable” board was built in 2013 by Alexi for use on Frank’s new reclining wheelchair. The board had hinges so it could be adjusted as Frank reclined (painted by Mikee LaBash):

Frank and Linda at Erotic Risk For Deep Love September 2013 performance
… with adjustable board.

Art Books 1985-1994

When Frank received the NEA Fellowship in 1985, one of the requirements was that we keep notes so that Frank could submit a diary at the end of the Fellowship year. We got a marble copy book and labeled it ART BOOK with the dates of the fellowship. I had forgotten about all of this, but in the course of digging through our archives to try to figure out where we kept info before we were using the computer to log everything in, we found the ART BOOKS! We kept using the ART BOOK as a way to keep track of all of our “art” activities, starting a new one as we filled each old one, with 1995 being the last year logged in.

CLICK ON A GALLERY IMAGE FOR A BLOW-UP

frank’s archives at performistanbul

A post by Performistanbul (PCSAA) with photos:

After a weekend full of books, as Performistanbul Live Art Research Space, we will start to share our archive collection with you!

Our archive aims to hold 7000 resources that consists on the contributions of international performance artists and the materials that will be purchased with the donations. We are approaching our goal day by day, with getting various types of archive material donations. We want to thank the artists who remind us that we are not alone by sharing their archive with us.

You can stand by our side on the road of achieving the goals of our archive and Research Space, with your donations!

We begin with the archive of shaman / performance artist Frank Moore, one of the most extensive donations we had so far! Our Frank Moore archive consists of books titled “Chapped Lap”, “Cherotic Magic”, “Frankly Speaking”, “Art of a Shaman”, “Skin Passion”, “Deep Conversations in the Shaman’s Den – Volume I” along with dozens of various other archival materials such as booklets, manifestos, posters and postcards. In the meantime, dozens of soft copy materials of unprinted documents including more than 500 performance videos are added to our digital archive collection.

When Performistanbul Live Art Research Space (PCSAA) reach its goal, all resources will be available for the use of visitors!

With each donation, we are getting one step closer to fill our shelves with books. With your donations, you may contribute to this journey and stand by our side!

We would like to offer special thanks to Linda Mac & Mikee Labash.