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Italy

U.S. Fulbright

Odysseus Landing on the Island of the Sun: How Traditional Sicilian Boat Building Fused with My Community Art Practice, By Jeremiah Hulsebos-Spofford, 2009-2010, Italy

October 14, 2011

As I sent off an email while preparing my Fulbright application to Italy, I had no idea what kind of reception I would receive from Salvatore Rizzuti, the Sicilian sculptor who would eventually sign on as my principal Fulbright mentor.  Nor did I know that I would inhabit a dilapidated parking garage in Palermo as my studio for a year while I was building a floating sculpture out of Sicilian fruit boxes.

I did know that many “Odyssey” armchair travelers or geographers have sworn that Odysseus rode the underbelly of a sheep down the slope of a Sicilian beach to escape the Cyclops Polyphemus.  I also knew that Sicily sits as a gateway to Europe for many non-Europeans and, as such, receives an influx of immigrants either from or transiting through North Africa.

Before my Fulbright grant, my art practice had developed a distinct social element; I conducted art workshops in refugee camps and orphanages around the world while maintaining a separate studio life, producing ephemeral sculptural events that often took place on bodies of water.

While trying to reconcile the two aspects of my art practice, I arrived in Sicily with three main goals for my Fulbright grant: to study traditional boatbuilding, teach weekly art classes to underprivileged children at a center called Jus Vitae and enact a psycho-geography of Odysseus’s time on the Island of the Sun primarily through building a large-scale floating sculpture that students from my workshops would help me design and which I would build, incorporating techniques from Sicilian boat builders.

Sicily, as a Palermitan told me during my Fulbright year, is the isle of the conquered.  He rattled off a long list of conquerors – some of whom included the Romans, Vandals, Byzantines, Americans and now, Mafia. I quickly found the streets of Palermo to be a riot of frenetic activity; cars jumping sidewalks, people jumping cars, a mishmash of culture, history and busy, careening, gesticulating people to be maddeningly energizing. It turned out that the isle of conquered had conquered me. 

In fact, some new Mediterranean syntax began developing in my brain; hot on the trail of old conquerors and the present inhabitants, one of whom was Pino, a master boat builder, who, for the life of him, couldn’t figure out why I offered to sweep his woodshop every week for free so I could hang around while he repaired fishing boats.  By the end of my time in Sicily, I had fused my community art practice with my studio practice by collaborating with the children with whom I volunteered, setting the stage for future projects that combined aesthetic research and volunteerism. I had also managed to float a shotgun shack sculpture down the river Tiber in a sci-fi ode to Huckleberry Finn, spend time at the American Academy in Rome as a visiting artist, and give a series of artist talks sponsored by the U.S. Consulate in Naples and the German Fulbright Commission in Berlin. 

When I returned to Chicago after my Fulbright grant, I was included in a group show highlighting top emerging artists at the Hyde Park Art Center. With the help of a residency and fellowship, I am currently working on a project to enact a fictitious immigrant landing with sculpture rafts on the city’s Gold Coast, populated by my students from ChiArts, the only public arts high school in the city. In all that I am doing, I find myself talking incessantly about my Fulbright experience and how everyone should apply to be cultural ambassadors by incorporating some sort of volunteerism into their applications. My Fulbright year in Italy was a wellspring that will undoubtedly feed my art practice for years to come.  It gave me a framework in which my practice doesn’t solely mine or cannibalize history, philosophy and cultural moments, but also exists in and nurtures my hometown and host communities in sustainable ways.

Top photo: Jeremiah Hulsebos-Spofford, 2009-2010, Italy (in hat), leading an art workshop with children from Jus Vitae in Palermo, Italy

Middle photo:Ecclesiastes Rose: Penelope my martian temple dancer, a boat installed by Jeremiah Hulsebos-Spofford, 2009-2010, Italy, on a dry dock among the fishing boats in Mondelo, Sicily

For more images of my Fulbright work including, Penelope and the Cyclops, please visit www.jspofford.com.

Tips for Applicants:

  • If you are currently enrolled at an institution, make the most of working with your Fulbright Program Adviser (FPA) on campus. Even if you are a recent alumnus/na, ask if your alma mater’s FPA might be willing to work with you. Attend Fulbright Information Session and webinars and always ask exhaustive questions whenever it makes sense to do so.
  • Contact and network with the Fulbright Alumni Ambassadors. Ask about their projects and their experience with the application process. Look through the titles of successful projects from applicants in your field.
  • Choose a country that will stretch your comfort levels and ask: What cultural resources am I pursuing? Why is it imperative that I immerse myself there?
  • Incorporate volunteerism into your proposal. The Fulbright Program is an awesome privilege. Service in your host community will open unexpected doors for you personally and professionally.
  •  Applicants in the Arts and Writing: Take every opportunity that comes your way.  Look for residencies, speaking and collaboration opportunities with other artists, and approach local galleries and museums. The Fulbright Program puts you in a unique position to network. Be sure to contact the Fulbright Commission and/or Public Affairs Section at your local U.S. Embassy and make yourself available for artist talks and workshops. If your project is community-based and you need more funding to cover materials, apply for a Federal Assistance Award. 

 

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U.S. Fulbright

Fulbright Italian Style: Classroom, Community, and Culture, By Jessica Orton, 2010-2011, Fulbright English Teaching Assistant to Italy

June 28, 2011

During my Fulbright grant, I worked as an English Teaching Assistant (ETA) in three different schools: one in Rome and two in L’Aquila.  In each school, I played a slightly different assistant teaching role and covered a range of topics.  When conducting lessons on everything from American culture, to literary analysis, to practical English phrases and grammar, I had to constantly adapt as an assistant teacher.  The students viewed me as a cultural ambassador, which led to cultural exchanges on a daily basis.  Often, lesson plans became secondary to discussing current events such as the war in Libya or the capture and killing of Osama bin Laden, where we could exchange Italian and American perspectives.

The most important aspect of my success as an ETA was in building relationships with students.  I created an encouraging classroom environment and as students became more comfortable and confident, I would often hear from teachers, “Wow, this student usually never speaks.”  My rapport with each class allowed students to take chances and let go of their inhibitions when speaking English or explaining their points of view.

My relationship with students also extended outside of the classroom.  In every school, I had the opportunity to organize community events for my students, such as walking together in the Race for the Cure and participating in a class trip from Rome to L’Aquila.  This last activity, where I took one of my classes from Rome to see and learn about L’Aquila’s current condition, was particularly important for my students.  The grim situation of L’Aquila’s city and people after the 2009 earthquake is not widely known in Italy, and my Roman students were legitimately shocked to see the city’s current state.  These opportunities to engage with my students in an informal setting fostered not only personal relationships, but also enhanced their self-confidence in public speaking.

While I had an amazing, positive experience in Italy, I still had to cope with early morning commutes to L’Aquila from Rome, organizational and bureaucratic issues, and the struggle to keep students motivated in class.  Yet, I also learned from these challenges and improved my ability to handle conflicts. Professionally and personally, I became more adaptable, creative, and more confident as a leader.  I learned new things every day: discussing topics with my students, attending cultural events in Rome, and simply chatting with Italian friends over coffee.  I want to offer my sincere appreciation to the Fulbright Program for truly building bridges between cultures.

To future Fulbright grantees, I would say believe consistently in your abilities, embrace new experiences, and don’t be afraid to take risks.  Be ready to adapt to new situations and challenges.  It’s amazing how often obstacles turn into opportunities.

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U.S. Fulbright

Life as a Fulbrighter is Good: Here Is How I made it Happen, By Brett Martin, 2007-2008, Italy

December 29, 2009

After graduating college with a degree in economics and psychology, I did what everyone else I knew who graduated was doing: I moved to New York City and worked 80 hours a week as an investment banker. I liked it, but it became obvious that I was much more interested in building my own business than buying and selling pieces of other peoples’ businesses. I began looking for a platform that would enable me to learn how businesses are built before taking the plunge. One night, I bumped into a friend I hadn’t seen in a while:

“Where have you been?” I said.

“Studying resource mobilization in Argentina.” he replied.

“That’s awesome!” I responded. “How did you pull that off?”

And that’s the first time I ever heard about the Fulbright U.S. Student Program – a magical program that enables passionate people to pour themselves into pursuing their dreams while promoting goodwill abroad. Most people think that you need to be a 4.0 student to get a Fulbright grant. Not true. You don’t even have to be a current student (!), but you do need to at least have your bachelor’s degree or equivalent. Through your application, you just need to be passionate enough about your cause and becoming an American cultural ambassador to convince the U.S. Government that you are worth funding, and will make good use of your time abroad. I can only share my Fulbright experience, but here’s my advice to potential applicants.

1) Pick a topic of great interest to both the U.S. and host governments.

1. Grant writing 101: you are asking these governments for a lot of money. Pick something that they care about.

2. I chose “The Effect of Globalization on the Italian Textile and Fashion Industries.” Italy’s family textile businesses have been decimated by low-cost, Asian imports. The Italian government wants to know how to make those businesses more competitive. Guess who else is worried about low-cost, Asian imports? You got it, Uncle Sam. Fulbright funds hundreds of projects every year that are politically and culturally expedient, so there are many options to choose from.

2) Pick a relevant and timely topic.

1. It’s better work on something new and exciting than to pick a topic that’s been beaten to death.

2. Globalization was about as hot as it gets in 2006. A woman in my Fulbright class studied the Slow Food Movement. The Italian Fulbright Commission was basically asking for her autograph.

3) Pick a topic that is personally relevant.

1. You need to convince the selection committees that you are PASSIONATE about whatever it is you propose to study, be it textiles or sea snails. Since the Fulbright Program does not require an end-of-grant report in order for you to receive funding, the committees need to know that you are going to follow through on your work and that you’ll be an excellent cultural ambassador.

2. I wrote about seeing Italian textiles manufactured by a family business first hand during my undergrad study abroad in Siena. I also demonstrated my commitment to the garment industry by interning at Dolce & Gabbana.

4) Pick a topic that leverages your unique skills.

1. Are the skills you have particularly relevant to the project on which you propose to work? They should be.

2. I studied industrial and competitive dynamics 80 hours a week for two years straight on Wall Street.

5) Bring skills that aren’t available in the host country.

1. This is similar to my previous point except that not only should you be qualified for the job at hand, few in your proposed host country should be able to do what you do.

2. Italy doesn’t have a crazy excessive work culture, so there are very few people there who have spent 80 hours a week trying to understand why some companies succeed and others fail.

6) Bring back unique skills that will benefit the U.S.

1. Uncle Sam is usually footing at least half the bill for you trip, so make sure he is getting something out of the deal (in addition to all of the good will you are going to spread!).

2. As mentioned in my first point, I brought back a better understanding of how small and medium sized businesses can compete with low cost foreign businesses. I’m currently putting the results of my Fulbright research into practice by starting my own business.

7) Secure as many solid affiliations as possible.

1. Nine months is NOT a lot of time to produce anything meaningful, especially when you have willingly immersed yourself in a culture and language you may know little about and in which you may not function “efficiently” in the first place. The Fulbright Program wants to know that you are going to hit the ground running. To do so, you are going to need some support and infrastructure in the form of an affiliation.

2. Most people have some connections from their current university or with professors from their study abroad experiences. I didn’t have either, so I just cold emailed over 75 business school professors all over Italy. I included examples of my work and offered to work on their projects for free. I ended up with my own office (and wonderful secretary) in the best business school in the country.

8) Use every possible question, no matter how small, to convey the value you will bring. Every word counts.

1. This is obvious.

2. I think I wrote the equivalent of entire paragraphs in a few single line spaces in my application.

9) Read everything on the website and talk to past grantees.

1. You can learn a lot by looking at who received grants and what they did. Talking to past grantees will give you an idea of what to expect. You may also listen and watch former grantees talk about their experiences.

2. I definitely got help from my buddy who was a Fulbrighter. Stick it out.

3. Make sure to check in with your campus Fulbright Program Adviser, if applicable. It’s never too early to start learning about your school’s Fulbright application process and deadlines.

4. The application process can be boring and tedious and easy to blow off. Don’t blow it off. It’s worth it. You’ll thank me later. I promise.

Photo: Brett Martin, 2007-2008, Italy, taking a break from the office to check out the sailing at La Spezia.

Brett Martin was a Fulbrighter at the Universitá Bocconi in Milan. His Fulbright research on organizational bottlenecks was recently published in the Harvard Business Review. He is currently building a better way to find new restaurants at www.thedataowl.com.

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