Art movement – The Idyllists http://theidyllists.com/ Sat, 25 Sep 2021 01:47:41 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://theidyllists.com/wp-content/uploads/2021/06/cropped-icon-32x32.png Art movement – The Idyllists http://theidyllists.com/ 32 32 Galen Hooks’ Interpretive Dance on “I Love You” Feeds My Artist’s Soul – The Channels https://theidyllists.com/galen-hooks-interpretive-dance-on-i-love-you-feeds-my-artists-soul-the-channels/ https://theidyllists.com/galen-hooks-interpretive-dance-on-i-love-you-feeds-my-artists-soul-the-channels/#respond Fri, 24 Sep 2021 21:53:12 +0000 https://theidyllists.com/galen-hooks-interpretive-dance-on-i-love-you-feeds-my-artists-soul-the-channels/

Galen Hooks (left) and Antavius ​​Ellison (right) on “I Love You” by Billie Eilish, choreographed by Galen Hooks. Source Galen Hooks.

I have never been immensely moved by a materialistic work of art, but the emotional performing arts have left a deep mark on me.

The YouTube video of Galen Hooks’ choreography to Billie Eilish’s “I Love You” never fails to move me. This dance portrays grief, passion, independence and more.

Posted on September 24, 2019, this video features nine dancers each doing a solo dance for one minute and 40 seconds.

Before watching this video, I had never felt so strongly connected to a room.

Growing up, I danced competitively for 16 years. Dancing was my outlet, it allowed me to express myself like nothing else could. I was able to put movement into everything I was feeling and to create an emotional connection with those around me.

Whenever I’m not feeling inspired, I watch Galen Hooks dance lessons and choreography videos online.

When I came across her choreography for “I Love You”, I was left speechless.

Galen Hooks is an American dancer, choreographer and creative director, among a variety of other talents.

Hooks has choreographed for over 20 years and has worked with renowned artists such as Janet Jackson, Rihanna and Justin Bieber. Her unique style caught my eye about four years ago and no other choreographer has compared since then.

The video begins with Hooks herself performing the dance, creating an intense and moving emotion for the rest of the video.

With the help of the videographer and the director, the dance is truly transcendent into a beautiful work of art. Each angle and each shot captures a raw new emotion that creates a connection between dancers and spectators.

I don’t believe there is a way to watch this performance and not feel anything.

Hooks finds a way to touch something in your soul with simple movements and heavy facial expressions. The dancing is pretty straightforward, but the way Hooks and his troupe perform in a unique way forms something that has never been done before.

In the description of the video, Hooks says: “The theme of this course was to marry acting with dance, and to work specifically on the skill of acting for a camera with choreographed camera movement.

This type of performance is an impressive skill due to the difficulty in performing.

“It’s rare that dancers are hired for jobs where they can perform solo and interact with a camera, so this class was a way to create an opportunity for them.” said Hooks.

Not only are the performances captivating, but they were also very beneficial for the dancers themselves for their work experience.

Outside of the choreography, Hooks’ favorite song, “I Love You” by Billie Eilish, is a masterpiece in itself. Eilish captures the raw heartbreak in this beautiful song.

Eilish expresses feelings of a tragic breakup wwith lyrics like “I can’t escape the way I love you, I don’t want it, but I love you.

With the mastery of choreography and emotional song combined, a powerful work of art is created by the movements of Galen Hook.

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Jersey City Theater Center (JCTC) Presents Inaugural Immigration Arts Summit https://theidyllists.com/jersey-city-theater-center-jctc-presents-inaugural-immigration-arts-summit/ https://theidyllists.com/jersey-city-theater-center-jctc-presents-inaugural-immigration-arts-summit/#respond Fri, 24 Sep 2021 13:56:05 +0000 https://theidyllists.com/jersey-city-theater-center-jctc-presents-inaugural-immigration-arts-summit/

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The Jersey City Theater Center (JCTC) announced the inaugural Immigration Arts Summit on Sunday, October 3, 2 p.m. to 6 p.m., at White Eagle Hall in Jersey City (337 Newark Ave.).

The in-person event marks the official opening of the 3rd JCTC Voices International Theater Festival. The Summit centers on a multidisciplinary performance – mixing dance, film and poetry – presented by immigrant artists from Guinea, Mexico, Jamaica, Colombia, the United States and Italy.

“The Immigration Arts Summit is a natural extension of the Voices International Theater Festival and a meaningful way to address our theme of art and democracy,” says Olga Levina, JCTC Co-Founder and Artistic Director and Immigrant from Belarus. “The Summit celebrates immigration as an integral part of America’s DNA. Recognizing and giving voice to the experiences of our immigrants not only enriches the arts, but it also benefits our collective community and our shared understanding of global issues.

Throughout the afternoon, artists and community leaders will examine what it means to engage ethically in another person’s story and how that engagement can be transformative for individuals and society.

Participants will hear keynote speakers Hope Azeda, a leading figure in contemporary Rwandan theater, and Joseph Patel, producer of “Summer of Soul”. Musician Ariel Guidry and writers Maiya Katherine and Issa Musharbash, authors of “An Apology to My Demons” and “Go Back to Your Country,” respectively, will represent Jersey City, who will host a book signing.

“Movement Without Borders” will feature global talent including Tish Lampert, acclaimed American photojournalist from the US-Mexico border, Jersey City poet and performer Jonathan Mendoza, acclaimed record maker and artistic activist Raoul Roach, and Enrique Morones , founder and director of Gente Unida.

In addition, Adelita Husni-Bey, artist and Italian-Libyan researcher, will screen her film “Chiron”. Christhian Diaz, a Colombian-American artist and Chairman of the Board of UnLocal, a non-profit organization providing free legal representation to undocumented migrants in New York City, will host a discussion and question-and-answer session. Finally, the West African musician and activist Natu Camara will close a day of cultural exchanges.

This event is made possible by many supporters, including the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts, the Hudson County Office of Cultural & Heritage Affairs / Tourism Development, Hudson County, Hudson County Executive Thomas DeGise, the Hudson County Board of Directors of Selected Free Owners; the City of Jersey City, Jersey City City Council and the Office of Cultural Affairs. Festival sponsors include PNC Bank, Mastercard, LeFrak, Barcade and Shuster Group.

Tickets ($ 20) are available here: https://www.seetickets.us/event/Immigration-Arts-Summit/439700.

About the Jersey City Theater Center

Founded in 2006, the Jersey City Theater Center is a 501c3 nonprofit arts organization committed to inspiring conversations on important issues of our time through the arts. For more information visit https://jctcenter.org or contact (201) 795-5386.

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HED COVER: The Maestro & The Movement https://theidyllists.com/hed-cover-the-maestro-the-movement/ https://theidyllists.com/hed-cover-the-maestro-the-movement/#respond Thu, 23 Sep 2021 22:00:00 +0000 https://theidyllists.com/hed-cover-the-maestro-the-movement/

“Bernstein’s Wall” will be screened Saturday afternoon at Aspen Filmfest. (Courtesy of Aspen Film)

Leonard Bernstein was a proud warrior of social justice who sought – on and off his conductor’s podium – to change the world. Yes, he was arguably the most important American musician of the 20th century, but as the new documentary “Bernstein’s Wall” argues, the music itself may not have been his most important work.

Directed by Douglas Tirola, the film examines the life and work of Bernstein through the prism of his activism.

The Boston-born composer and conductor was an early and active figure in the civil rights movement, working with Martin Luther King, attending the 1965 march in Selma, and performing in support of the cause. He went to Jerusalem and pleaded for the fall of the walls between Arabs and Israelis. Bernstein was also an early and outspoken opponent of the Vietnam War.



“Art has never stopped a war, it has never found a job for anyone,” he says in the film. “What he can do is he can move people by allowing them to wake up and be active.”

Bernstein was mostly ridiculed for his activism by new journalist Tom Wolfe, who in 1970 wrote about a fundraiser organized by Bernstein for the Black Panther Party and coined the term “radical chic” based on the event. That put him at the center of the culture war of the time – which looks a lot like today’s – but it didn’t bend Bernstein’s will, the film shows.



“Protesting against pollution and poverty is difficult, not easy. To oppose the military-industrial complex is difficult, not easy, ”he told an anti-war crowd in Times Square in the film. “I’m here to say ‘I’m with you.'”

“Bernstein’s Wall” will be screened Saturday afternoon at Aspen Filmfest. (Wikimedia Commons)

Bernstein himself narrates nearly all of the film itself, with clips assembled from interviews and TV shows, most of which were forcefully delivered in a direct-to-camera address from an end-of-life profile. They are complemented by some of his written correspondence, which crosses the screen in text with music in the background. And there are some exciting supercuts in Bernstein’s film directing, sweaty and directing the New York Philharmonic in his signature dramatic style.

As he says in the film, he is “possessed by the ideas and ideals of music”, and he indeed looks like a man possessed.

The film premiered in June at the Tribeca Film Festival and played Telluride before coming to Aspen Filmfest, where it will screen on Saturday afternoon.

Triola, best known for his 2015 National Lampoon documentary “Drunk Stoned Brilliant Dead,” found in Bernstein an avatar that could express the filmmaker’s perspective on today’s divided and conflicted culture.

“It’s incredibly personal,” Triola said Monday in a telephone interview. “I wanted to use her story to express a number of things I was feeling in the world right now.”

He fell in Bernstein’s story while researching a movie about New York in the 1980s. Triola came across footage of Bernstein’s historic concert in Berlin on Christmas Day 1989, celebrating the fall of the Berlin Wall a month earlier. Triola remembered seeing the show on TV as a child, but seeing it again piqued her interest when she saw how relevant Bernstein’s social justice work was today.

“It took me on this journey of watching things he said on YouTube and things he wrote and I was really more interested in the way he talked about life and politics and religion, ”Tirola said. “I wanted to find a way to make a movie where I could express these ideas.”

It is striking, after the years of “building the wall” under the Trump administration, how often and with what power Bernstein talks about walls – metaphorical and physical – and his mission to tear them down.

“We have never had in our human history so many borders, barriers, walls, lines of demarcation on such unrealistic maps”, says Bernetein in the film. “David, Jesus, Schiller, Beethoven. How you must suffer.

Diving through the archives to find footage of Bernstein to create a sense of telling his own life story, Tirola found a treasure comprising revealing images of his end of life with Bernstein speaking directly into a camera about his core beliefs.

“That’s why I conduct and write music,” says Bernstein, “because I love people. I pray for the years and the energy to make the contribution that I ultimately want to make.

With an emphasis on social activism, “Bernstein’s Wall” focuses on surprising areas. For example, he spends more time on Bernstein’s later, less political musicals like “1600 Pennsylvania Avenue” and “MASS” – which have drawn the ire of President Nixon himself, as the House tapes reveal. Blanche played in the document – only on “West Side Story,” which only gets a brief treatment in the film. His influential and acclaimed film scores go almost unnoticed.

“Bernstein’s Wall” will be screened Saturday afternoon at Aspen Filmfest. (Courtesy 4th Row Films)

Of course, Bernstein’s life and career was so huge that a documentary filmmaker could (and maybe should one day) make 10 feature films about him and not cover everything. For Triola, focusing on activism made her choices clear.

“My interest was that Leonard Bernstein was trying to answer the question, ‘What is the role of an artist? And what is the role of the artist in creating a change in the world? ‘ Said Triola. “I was trying to figure out how to tell the parts of the story that you expect to hear, but then deliver unexpected moments.”

Biographical details – his father’s emigration from Russia to the United States, his studies at the Curtis Institute and his first summer in Tanglewood, his marriage, his children, his male lovers, his relationship with Aaron Copland, his concerts very popular young people – are closely linked to the activism that remains at the center of the Tirola documentary.

The viewer sees Bernstein at the forefront of social justice work for decades, showing little doubt about his concepts of right and wrong and no qualms about using his public platform in the name of progress. Sometimes that means supporting Duke Ellington or spotlighting a black soloist at the New York Phil, or stepping behind the Iron Curtain after the Berlin Wall was built in 1961 to give a series of lectures and concerts in Russia.

“It was a State Department sponsored friendship mission,” Bernstein says in the film at the start of a fascinating section detailing his friendship with John F. Kennedy.

Bernstein fought during the last months of his life in 1990. As to whether artists could have an impact, Bernstein concluded: “The artist can change the world but he cannot necessarily change the world. through his art.

atravers@aspentimes.com

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Six decades of masterpieces by Hervé Télémaque celebrated in the first major British exhibition https://theidyllists.com/six-decades-of-masterpieces-by-herve-telemaque-celebrated-in-the-first-major-british-exhibition/ https://theidyllists.com/six-decades-of-masterpieces-by-herve-telemaque-celebrated-in-the-first-major-british-exhibition/#respond Thu, 23 Sep 2021 07:00:00 +0000 https://theidyllists.com/six-decades-of-masterpieces-by-herve-telemaque-celebrated-in-the-first-major-british-exhibition/

From October 7, 2021 to January 30, 2022, Hervé Télémaque: A Hopscotch of the Mind is a rare opportunity for British residents to explore the artist’s unique and vast work. Instantly recognizable thanks to its playful combination of archival and contemporary pop cultural references, Télémaque’s work avoids falling into predictability by using them to retrace subjects as diverse as colonialism and sexuality.

“The seminal work of Hervé Télémaque takes us on a unique journey through the visual languages ​​of racism, colonialism, desire, violence, consumerism and the history of art,” said Hans Ulrich Obrist, artistic director, and Bettina Korek, general director of the Serpentine. “This spectrum of themes remains as central today as it has in every decade recounted by his singular practice. We are delighted to give London audiences the chance to see the work of this remarkable artist in person.”

A former student of the Art Students League of New York and a student of painter Julian Edwin Levi, Telemachus has developed a distinctive visual vocabulary that features abstract gestures, cartoon images, and striking combinations of literary and consumer references. An explosion of subjects ranging from Y fronts to monsters collide with a somewhat Basque-esque fusion of words and images to create a powerful art that invites the viewer to decode it.



Hervé Télémaque, Family Portrait, 1962-63, Oil on canvas 195.3 x 260.3 cm. Photography: Gandur Foundation for Art, Geneva / André Morin © Hervé Télémaque, ADAGP, Paris and DACS, London 2021.

Developing his style as the art scene was dominated by Abstract Expressionism, Telemachus became interested and inspired by artists such as Arshile Gorky, Willem de Kooning, Jasper Johns and Robert Rauschenberg. Although it wasn’t long before the limits of these early influences became apparent, as he observes: “this entirely New York school seemed inadequate to me to express where I came from and who I was.”

The one who became Télémaque was an honorary Parisian, having settled there definitively in 1961, where he quickly associated with the surrealists and later co-founder of the Narrative Figuration movement in France. This movement, created in collaboration with the art critic Gérald Gassiot-Talabot and the artist Bernard Rancillac, was a reaction against the abstract and Pop art which then dominated America.

Hervé Télémaque, Confiance, 1965, Magna on canvas, painter's stepladder, carpenter's hammer, rod and ropes 211 x 130 x 86 cm.  Photography: Jean-Louis Losi © Hervé Télémaque, ADAGP, Paris and DACS, London 2021.



Hervé Télémaque, Confiance, 1965, Magna on canvas, painter’s stepladder, carpenter’s hammer, rod and ropes 211 x 130 x 86 cm. Photography: Jean-Louis Losi © Hervé Télémaque, ADAGP, Paris and DACS, London 2021.

“The Narrative Figuration of Télémaque often results in works with a Pop sensibility that integrate consumer objects and signs”, specifies the Serpentine. “The artist then bends these images with astute criticism, producing work in dialogue with current events, such as the Cold War, the Cuban Missile Crisis, the American intervention in the Dominican Republic and contemporary French politics.”

To accompany the exhibition, Serpentine is co-publishing one of the first major English catalogs of Telemachus’ work. Edited by Joseph Constable with Koenig Books and Aspen Art Museum, where the exhibition will be presented in 2022, this catalog will include newly commissioned texts that retrace his work through a historical lens of art.

“The book will also include a selection of the artist’s writings, many of which are being translated into English for the first time, as well as a recent interview between the artist and Serpentine art director Hans Ulrich Obrist,” the Serpentine adds. .

Hervé Télémaque: A hopscotch of the spirit opens on October 7 with free entry.

Hervé Télémaque, Inventory, an interior man, 1966, Acrylic on canvas, 150 x 300 cm.  © Hervé Télémaque, ADAGP, Paris and DACS, London 2021.



Hervé Télémaque, Inventory, an interior man, 1966, Acrylic on canvas, 150 x 300 cm. © Hervé Télémaque, ADAGP, Paris and DACS, London 2021.

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Auguste Wibo and the anonymous attraction of art https://theidyllists.com/auguste-wibo-and-the-anonymous-attraction-of-art/ https://theidyllists.com/auguste-wibo-and-the-anonymous-attraction-of-art/#respond Wed, 22 Sep 2021 15:38:29 +0000 https://theidyllists.com/auguste-wibo-and-the-anonymous-attraction-of-art/

In a recent conversation for this magazine, author Samuel R. Delany discusses the bygone era of cruising in New York, remembering with the artist Jonathan Lyndon Chase about the time when the metropolis was a garden of earthly delights and anonymous sex. Delany remembers the city’s porn theaters, piers and bars where illicit and passionate bonds were forged between new friends and strangers before the AIDS epidemic and the internet began. Over time and technology, these physical spaces have mostly been replaced by apps like Grindr and Scruff, where verification of sexual partners seems to depend more on preference than proximity.

In a new series called “The Lovers”, the artist Auguste Wibo constructs cheeky, three-dimensional portraits that speak to the physicality in your face that was once a staple of IRL cruising. Galvanized by the Arte Povera movement, Wibo tells us he’s drawn to simple “everyday materials” like silicone, wood, and stretch fabrics to construct provocative phallic works that protrude from their frames. Each piece is named after an ancient Greek or Roman figure (such as “Dante” and “Apollo”), but the artist claims that such titles derive more from vanity than from any direct historical inspiration. That’s because Wibo wants audiences to revel in the intrigue and sexual promise that each work inspires, rather than trying to guess the muse behind every erection.

“Who are Hector, Maximus and Ares?” The real motivation, in the end, is not the secret, but the desire. Are we not all inherently more drawn to something that we can imagine, but cannot fully see or understand? ” Wibo said. Like his “Lovers” series, the artist’s origins are also shrouded in mystery. “Auguste Wibo” is a nickname coined by the creator to protect his true identity. In his oscillation between obscurity and fascination, Wibo’s artistic beginnings seem to suggest that the cruising spirit is making a comeback.– if only in the form of art.


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United Arts announces September project grant winners https://theidyllists.com/united-arts-announces-september-project-grant-winners/ https://theidyllists.com/united-arts-announces-september-project-grant-winners/#respond Tue, 21 Sep 2021 14:27:44 +0000 https://theidyllists.com/united-arts-announces-september-project-grant-winners/

United Arts of Central Florida just released the names of the organizations that received its September project grant cycle.

Seventeen organizations received grants during this cycle, totaling $ 27,000 in funds to support their projects, which range from cultural events to art therapy programs.

The following copy is taken from a press release issued by United Arts earlier today.

Asian trendReceived $ 1,000 for Asian Cultural EXPO 2021. Directory Asian Cultural EXPO will present the culture of Asia through performances, workshops and art and craft exhibitions. Asian trend invites local arts organizations to perform and organize free workshops after each performance. The exhibition will be presented in conjunction with the GWN Orlando International Dragon Boat Festival.

CABETCAL – Received $ 1,000 for Latin celebration of art. The Latin celebration of art will present artists from different Latin countries, including Colombia, Mexico, Puerto Rico, Venezuela, El Salvador, etc. These artists will present their paintings and techniques as well as share their experiences as artists making new life and integrating into a community without losing their identity. This project will serve as an opportunity to educate and appreciate art that represents diverse ancestry and culture.

CAYA Network – Awarded $ 2,000 for arTron (Art Tron). The project will function as a live VR painting experience with artists using Oculus Quest and the Tilt Brush app to create digital masterpieces. Live participants can see what the artist is doing on a large TV / projector screen. During the weekend, the public can come to the venue and view the artist’s masterpiece through a VR headset.

Celebration Theater Company, Inc. – Awarded $ 2,000 for TO RENT. Celebration Theater Company, Inc. is proud to present its fifth season of live musical theater this year, culminating with the Tony and Pulitzer Prize TO RENT, with book, music and lyrics by Jonathan Larson.

Central Florida Sounds of Freedom Band and Color Guard – Awarded $ 1,500 for Darkness in Light. From darkness to light juxtaposes the experience of the passage from darkness to light highlighted by the musical selections. This season, the organization hopes to expand its programming to reach LGBTQ + youth at risk with the intention of having a small choir of LGBTQ + youth play with the group.

Chance 2 Dance (C2D) – Awarded $ 2,000 for Winter 2021 showcase: A Charlie Brown Christmas. With this adaptation of A Charlie Brown Christmas, C2D innovates by presenting its first musical theater production. This production builds on C2D’s tradition of producing increasingly ambitious and better quality shows featuring artists with special needs.

Child of this Culture Foundation (COTC) – Awarded $ 1,500 for Urban art project. In hopes of shattering the myth that graffiti is just vandalism, COTC strives to empower artists to tell their stories through the traditions of the Hip Hop arts. The project will offer 1 to 2 hour classes once a week for 8 to 12 weeks. COTC showcases street art, murals, pop surrealism and other genres of the contemporary underground movement by offering an open, safe and free painting session, urban arts learning for young people (free or modest) and workshops of renowned local street artists.

HAPCO Music Foundation – Awarded $ 1,500 for Winter Jazz Clinic 2022. This event is designed to provide intermediate and high school jazz students with direct and comprehensive instruction on a range of jazz concepts. Topics covered range from improvisation and music theory to breaking into the music industry and what it takes to be a professional jazz musician. Students who attend this workshop will learn information and concepts that will add to their music database for present and future use.

Howey Mansion Music Series Inc. (HMMS) – Awarded $ 1,500 for 2021-2022 musical concert series. HMMS is focusing on its main jazz and classical concert series at the Howey Mansion. The series brings together a diverse audience, made up of people of all races and ages from Lake County, Central Florida and beyond. Their concerts specifically attract many seniors living in Lake County. Artists currently booked for the series include Thomas Meglioranza, Reiko Uchida, Greta Pope & Band, Grimes Alley Blues Band; Sean Kennard; and the Chuck Archard Jazz Quintet.

Life Concepts d / b / a Quest – Awarded $ 2,000 for Quest Kids Academy music and dance programs. Children with developmental and learning disabilities have the ability to acquire academic, social and recreational skills through artistic activities. Quest plans to continue its artistic programming in two areas: the art of movement and dance in partnership with Chance 2 Dance; and a music program through a partnership with Joyful Music Therapy.

Messiah Choral Society (MCS) – Awarded $ 1,500 for 49th annual performance of Handel’s “Messiah” Under the direction of Dr John Sinclair, the Messiah Choral Society, with four professional soloists and a professional orchestra, will present a free performance of Handel’s “Messiah” marking the 49th anniversary of this long tradition. This year, the collaborative partner will be the Orlando Repertory Theater. MCS will also continue its collaboration with the Second Harvest Food Bank (SHFB) by inviting participants to donate to the SHFB.

Open Stage, Inc. – Awarded $ 2,000 for Exquisite Corpse at Immerger 2021. Open Scene has created an interactive art installation using virtual reality, highlighting a new level of collaborative creation in a virtual space. Based on the surrealist Exquisite Corpse technique, the final product will be a collection of poems written in a virtual world by the participants. Participants will wear glasses to join the virtual room designed with artistic and literary references from Latinx culture, guided by a voiceover.

Orlando Community Arts – Awarded $ 2,000 for Claire and the chocolate nutcracker. Clare and the Chocolate Nutcracker is an adaptation of the holiday classic Nutcracker by ETA Hoffman, with a multicultural touch, rooted in the experiences of African-American culture. Children from underserved communities will learn choreography taught by professional dance artists. The holiday show will feature local arts groups with approximately 150 children from the community participating on stage with dancers representing different countries, as well as special guest artists, who previously danced with the Alvin Ailey American Dance Theater and as The Nutcracker Prince of the Memphis Ballet.

Orlando Health – Awarded $ 1,500 for Return of creative interaction to regional cancer centers. Healing arts specialist Anne Hollander will provide free weekly creative interaction services teaching 14 different artistic mediums to adult cancer patients and their caregivers at regional care centers during outpatient chemotherapy. The specialist will provide free art classes at workshops to all cancer patients / caregivers living in Central Florida, regardless of which hospital they are treated at. Zoom workshops will also be available each month.

Orlando International Film Festival, Inc. (OIFF) – Received $ 1,000 for Aid for artistic education from OIFF. On a monthly basis, the OIFF will work with professional artists to deliver a comprehensive art program including art classes for drawing portraits, animals and other subjects. Participants will be at-risk youth aged 8 to 17. The program works with young participants to create books that integrate their artwork with writing skills, and older young participants, who wish to adopt a career as an artist, will be encouraged to pursue an artistic studies program in participating in professional art classes, theater classes. , and test / reading preparation courses. This project includes volunteer UCF instructors, UCF Soldiers to Scholars staff and professional artists in a team structure.

Round table of playwrights – Awarded $ 1,500 for Fall / Winter 2021-2022 project. This project will include their second Saturday reading workshops, which could expand to a bimonthly format; a new drama writing workshop; the return of Native Voices, a live-action production featuring writers from Central Florida; and the addition of Black History Month Showcase, featuring new plays by black playwrights.

South Playhouse Theater – Awarded $ 1,500 for Professional Advantage Game Reading Festival. The Professional Benefit Play Play series provides the community with an opportunity to exhibit, enjoy and educate a series of well-known, classic and diverse plays amid the educational season of the South Playhouse musicals. The program consists of three readings of plays for audiences of all ages that feature an ethnically diverse cast and guest directors. Through these readings of plays, the festival will address several social themes including domestic violence; social injustice; bodily shame and self-esteem. Currently, the play lineup will include “Lost In Yonkers,” the Pulitzer Prize-winning play by Neil Simon; “To Kill A Mockingbird,” the new revised version by Christopher Sergel, based on the Pulitzer-winning novel by Harper Lee and “School Girls; Or, The African Mean Girls Play ”by Jocelyn Bioh.

United Arts is now accepting applications for the next round of project grants. The next application deadline is January 26, 2022. Organizations can learn more or apply at www.UnitedArts.cc/grants.

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‘The Arboretum Experience’ Review: Augmented Reality, IRL | Arts https://theidyllists.com/the-arboretum-experience-review-augmented-reality-irl-arts/ https://theidyllists.com/the-arboretum-experience-review-augmented-reality-irl-arts/#respond Tue, 21 Sep 2021 02:47:31 +0000 https://theidyllists.com/the-arboretum-experience-review-augmented-reality-irl-arts/

If there was a way to capture the rejuvenating power of the Arnold Arboretum, a 281-acre wonderland just miles from campus, the American Repertory Theater has. Throughout the fall, the ART’s “Arboretum Experience” will offer visitors free audio games, meditation moves, and pop-up concerts to spruce up the average walk in the park. It seems counterintuitive – bringing an audience outside to interact with nature, while asking them to put on headphones. However, whether it is an immersion in nature or an augmented reality, “The Arboretum Experience” creates a captivating event worth revisiting.

When the public walks through one of the doors of the Arboretum this fall, they will be greeted with a QR code connecting them to a multitude of interactive media. Set in the present and acknowledging the realities of Covid-19, the stories focus on the Arboretum itself. Whether visitors spend their time by the Rose Garden or climb Bussey Hill, audio games create an interactive experience with a personalized ‘scene’ as visitors choose where to walk on their journey. While the concept is laudable and the dubbing convincing, the writing sometimes detracts from the magic. A particularly interesting line in “Ramona the intrepid goes for a ride”, an audio piece on the adventure of a young girl in search of lilacs is: “Xavier is the name, spread the smiles my game!” Nudge hello now that we’ve met? Maybe the cringe factor comes from rejection to the world of elbow bumps since Biden and Pence fought off weenuses in 2020; maybe this stems from the obvious ploy to show the precautionary position against ART viruses. Either way, the line is one of many that fail to land.

Despite unnecessary leaps in writing, the plays were intriguing and impressive – especially considering that only seven actors voiced the characters in all four plays, learning and performing their roles over the course of two weeks. A door slams, horns sound, birds sing and music is inserted between the transitions. Sound effects immerse visitors in the world of plays, and layered dialogue and broken lines capture the hustle and bustle of real conversation, creating a satisfying, textured listening experience.

But if the aim is to “experience” the Arboretum, what would otherwise be advantages sometimes becomes disadvantages. If a visitor is walking through the trees, surrounded by singing birds, rustling leaves and chirping insects, does putting on headphones to listen to an audio room full of man-made noise replace a more authentic experience?

Movement meditations help solve this theoretical conundrum. These brief audio files serve as a guide for the conscious interactions between the mind, tree, and ego. Whether visitors choose to hug a tree, follow breathing techniques, or meditate on plants, moving meditations remind them to slow down and take the time to align with the natural world. This critical aspect of “Experience” legitimizes the concept of the piece as a whole, helping visitors to refocus on the depths of this particular collection of trees.

To top it off, ART has invited music and dance artists to perform among the trees every Saturday at 2 p.m. Opening artists Kaovanny and Evelyn Bush kicked off the weekly performances on September 4 with their R&B fusion style, playing a setlist of covers and original tracks. The entrance arch to the Bradley Rosaceous Collection carefully framed the singers. There are few times more rare than sitting under a tree to listen to a guitar rendition of 50 Cent’s “21 Questions”, but these are the kinds of times visitors can expect at the Arboretum throughout the fall. So step out of the hustle and bustle of the city for an “Arboretum Experience” and discover your own magical moments.

– Editor Jacob R. Jimenez can be contacted at jacob.jimenez@thecrimson.com.

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California Art Center hosts controversial Leonard Peltier exhibition https://theidyllists.com/california-art-center-hosts-controversial-leonard-peltier-exhibition/ https://theidyllists.com/california-art-center-hosts-controversial-leonard-peltier-exhibition/#respond Mon, 20 Sep 2021 14:51:57 +0000 https://theidyllists.com/california-art-center-hosts-controversial-leonard-peltier-exhibition/

RICHMOND, CA – The Richmond Art Center in Richmond, CA hosts Repeatedly, an exhibition centered on the monumental sculptural tribute of artist Rigo 23 to prisoner Leonard Peltier (Turtle Mountain Ojibwe).

Peltier has been in jail for 45 years for the murder of two FBI agents, who were shot and killed in Oglala on the Pine Ridge Indian Reservation in 1975. For many American Indians and others, Peltier, who had Age 77 September 12 is the symbol of an oppressive federal system that confines Aboriginal people to a dismal place in American society.

Rigo 23 is a well-known artist in the San Francisco Bay Area. He has exhibited his work internationally for more than three decades, often placing murals, paintings, sculptures and tiles in public places.

The main feature of the Time and Again exhibit is a sculpture in California redwood, moss, plywood and metal that is based on a small hand-painted self-portrait of Leonard Peltier created in prison. The 9’x6 ‘base of the statue reproduces the dimensions of a traditional prison cell. Each time the work is presented, the exhibition incorporates selections from the growing collection of photographs of supporters in solidarity at the feet of the statue.

The community celebrates Leonard Peltier's 77th birthday on Sunday September 12 at the Richmond Art Center.  (Photo / Facebook)The community celebrates Leonard Peltier’s 77th birthday on Sunday September 12 at the Richmond Art Center. (Photo / Facebook)The sculpture became controversial when it was completed in 2016 and first shown at the Katzen Art Center at American University, Washington DC Amid pressure from the Association of FBI Agents and a bomb threat launched at the university the same day, the work was abruptly withdrawn. of the display. It took a year to return the sculpture to Rigo 23.

Since his return to the artist, he has been exhibited at the Main Museum in Los Angeles (2018), at SOMArts (2019) and more recently on the roof of the San Francisco Institute of Art overlooking Alcatraz Island (2020).

The statue’s feet, which are detachable, made their own trip, visiting important sites of Indigenous resistance across the United States including Standing Rock, Alcatraz Island, Wounded Knee, Crow Dog’s Paradise and the Pine Ridge Indian Reservation. Supporters were asked to stand in solidarity – and to be photographed. In the summer of 2021, the Richmond Art Center also welcomed members of the community to do so.

The current exhibit includes materials such as original sketches of the banner “This is 1999, why is Leonard Peltier still in prison?” »Mounted outside the Berkeley Art Museum; photographs from the Tate Wikikuwa Museum installed at the deYoung Museum in the same year; brochure and zine from the Tate Wikikuwa Museum at the Warehouse Gallery at Syracuse University, where Leonard Peltier’s sculpture was created in 2011; and historical photographs of the late Michelle Vignes documenting significant events in the history of the American Indian Movement.

Arthur Jacobs contributed to this article from Emeryville, California.

Exhibition: September 9 – November 18, 2021
Richmond Art Center
2540 Barrett Avenue, Richmond, CA 94804
Gallery opening hours: Thursday 10 am-2pm, Sat 10 am-2pm, or by appt 510-620-6772

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Shepherd’s Appalachian Heritage Festival to celebrate its 25th anniversary | Newspaper https://theidyllists.com/shepherds-appalachian-heritage-festival-to-celebrate-its-25th-anniversary-newspaper/ https://theidyllists.com/shepherds-appalachian-heritage-festival-to-celebrate-its-25th-anniversary-newspaper/#respond Mon, 20 Sep 2021 03:00:00 +0000 https://theidyllists.com/shepherds-appalachian-heritage-festival-to-celebrate-its-25th-anniversary-newspaper/

SHEPHERDSTOWN – This weekend, Shepherd University will be brought to life by the sounds of the Appalachians, both in those on campus enjoying the weekend with the family and in the 25th anniversary showcase of the Appalachian Heritage Festival.

“I’m a little in shock because I don’t feel like I’m that old, like ‘How did I do that for 25 years?'” Festival director Rachael Meads said with a laugh. .

This year’s lineup features three talented musicians as the main acts with “The Music Legacy of the Carter Family of Virginia” and a performance by Linda Lay and Springfield Exit at 2 pm at Reynolds Hall on Saturday. Then, at Reynolds Hall at 3:30 pm, John Morris for “A Conversation with Traditional Artist John Morris”. The demonstration concert at the Butcher Center Plaza at 7 pm will feature both Lay and Morris as well as local artist Dana Foddrell with “Freedom Songs of the Civil Rights Movement”.

Masks are mandatory for both performances inside Reynolds Hall, and admission is free in the light of the Family Weekend.

The three main artists bring their own roots in Appalachian music while proving the interweaving of all traditions to form what is loved by the region.

“Appalachian culture is almost like a tapestry,” Meads said. “It is woven from the threads of each of these cultural traditions: the indigenous peoples, the African-American traditions born of slavery, all the traditions of migrants, all the first American settlers.

“They’re woven into the warp of this tapestry – under, over, under, over – and you can’t really, if you’re going to pull and look at a shape, whether it’s bluegrass or the old days, all cultural traditions region, if you try to pull that thread out of one of those traditions, it just tears things up, ”Meads added. “There is no way for us to separate them because they are so inseparable from each other, and this interconnection is so apparent and rich.”

Morris is an award-winning violinist, banjo player, guitarist and songwriter who has always resided in Clay County. He was recognized in 2020 by the National Endowment for the Arts with the National Folklife Fellows Award, the organization’s highest honor for someone in folk art. Meads said the opportunity for those in attendance to interact and learn from a legendary and talented artist of his caliber is wonderful.

Foddrell will focus on a more localized culture, examining the traditional African-American songs heard from his childhood in a church in Charles Town and how these songs gained global weight during the days of the civil movements.

Meads said much of Appalachian culture is forgotten because it was born out of wrestling songs, directly related to slavery and these songs became the soundtrack of the civil rights movement over time. .

“It was in his DNA,” Meads said of Foddrell.

Meads shared that Foddrell is excited to share the music, commenting that the young people in her church have the connections and lessons to these songs she has already made.

Lay is originally from the Winchester, Virginia area and grew up virtually at the Carter Family Fold, the homestead of Jeanette and Joe Carter, which has helped her to forge her musical roots.

“Linda has a voice that’s just amazing,” Meads said. “She’s a predecessor to Alison Krauss, the beautiful bluegrass voice, but she can also hit you in the guts with a song that makes you feel deeply.”

Meads is thrilled to share such a diverse group of musicians, who make deep connections with regional culture, with community.

“We offer you a sample of three very different musical forms with different origins and roots, but I think it will be a great concert experience,” said Meads.

The festival was originally born out of the time Meads spent in class, his first two-year team teaching the Appalachian Culture course at Shepherd, making him realize the lack of connection the local students had with the area and with them. negative feelings of being a West Virginia that stem from popular cultural stereotypes. The festival has become a way to highlight the beauty and importance of Appalachian heritage for those in the region and those looking to learn.

“One of the things I noticed at the time was teaching this class for the first time, I had a lot of students from West Virginia who had a connection to the rest of the state because “They’re from our East Panhandle area, which is really different. I also saw a lot of students apologizing where they were from,” Meads said.

She said if you asked these students where they were from, they’d say, “West Virginia, but it’s more like Maryland,” or they’d say how tired they are of West Virginia jokes, feel despised because of the house and mountain images.

“We have to get this back somehow,” Meads said, she thought. “There was a huge misconception. When people thought of culture, they thought of it in terms of, “They are behind” or our history is not something to celebrate. But in a lot of ways, there’s a ton of really important story.

This first festival saw some great classics, but Meads thought it would be a one-time event, something that makes her laugh 25 years after more than two decades of honoring traditions.

“Once that was done, the community response was, ‘Please keep doing this. I learned so much from this. I didn’t know the banjo was an African instrument. I didn’t know there was multiculturalism in the Appalachians. I thought we had Scottish music and Irish music, ”she said. “It became a fire in my guts.”

Since then, the festival has been able to host greats like Jean Ritchie, Hazel Dickens Ralph Stanley and Mike Seegar, but it has also been able to be a carpet of laughter and a performance space for younger generations looking to perpetuate the sounds of the past, like Jake Krack and Chance McCoy.

“People could see this was a living, continuing story,” Meads said. “We’re so much bigger than that (the stereotype). If you don’t have the Carter family and Jimmy Rogers and those traditions, you don’t have country music, you don’t have rock n ‘roll.

Meads said festivals like Shepherd’s allow people to appreciate Appalachian culture and reframe mindsets, highlighting the weight and importance the region has had on American culture. The festival and others like it also highlight the diverse roots of West Virginia, with locals coming from so many other places.

“We’re not all white, Scots-Irish,” Meads said. “We are not all 100% that. Our heritage is shaped by the history of slavery and African American history and the history of immigrants from the British Isles and other stories of immigrants, Swiss, German, Italian, all people from Europe from the east.

With this, the culture of the region has become what it is today, this tapestry of traditions that has come to establish itself as new forms of art.

“It’s really exciting for me to see this interconnection,” Meads said.

For more information on the event or to find out more about the artists, visit the website the festival web page To www.berger.edu and clicking on the Performing Arts Series at Shepherd option under the Visitors tab.

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Artist’s stroke of inspiration with kids turns summer from gloomy to glorious https://theidyllists.com/artists-stroke-of-inspiration-with-kids-turns-summer-from-gloomy-to-glorious/ https://theidyllists.com/artists-stroke-of-inspiration-with-kids-turns-summer-from-gloomy-to-glorious/#respond Sat, 18 Sep 2021 23:08:46 +0000 https://theidyllists.com/artists-stroke-of-inspiration-with-kids-turns-summer-from-gloomy-to-glorious/

By Burt Constable

Faced with what could very well have been a “COVID summer” with isolation, segregation and even some mutual antagonisms, the artist Carol Keene found a way to celebrate a “summer of love” in her Buffalo Grove backyard with a group of neighborhood kids she had never met.

“They love me. I love them,” Keene said of the nearly two dozen young people, ages 6 to 14, many of whom are immigrants, who have formed an incredible bond with the 74-year-old painter, who lived there with her husband. , Bill, since 1979.

Sitting at her window this spring as she recovered from what doctors suspected to be COVID-19, Keene watched the bustling swarm of children biking and scooters and playing in the streets. In today’s modern society, where differences are often used as a rift between people, Keene began to greet Revathy Rajeev, a 12-year-old Indian girl who spent the summer in the house of a aunt who lived on the street. When Keene finally felt healthy enough to venture outside, she introduced herself and said she was an artist. The girl said she wanted to be an artist, and Keene released some of her paintings. Impressed, Revathy called other children, who wanted to know how Keene captured movement and light in a painting of weeds blowing in the wind.


Every summer week, the kids rushed to Carol Keene’s Garden in Buffalo Grove to learn the artist’s painting technique.
-Rick West | Staff photographer

This led to a summer of impromptu art classes, which started in June, was detailed in my first column about the joy of these unexpected, free two-hour gatherings, and has continued weekly until now.

“We’re here to end a summer of painting in my backyard,” Keene tells the children around her. She holds up a 40 inch by 40 inch wooden surface that was once a professional paint until it was thrown in the trash, where Keene saved her and sanded the previous effort to get it ready. to the painting of his children. For the benefit of Daily Herald photographer Rick West and I, Keene created badges for Masha, Rashi, Manal, Jacob, Bhavadharani, Aishwarya, Nethra, Akshar, Anandita, Srimani, Rithvi, Raj, Ankith, Nayak, Kaushal, Rishita , Nitin and more for latecomers who come later.

After the first column on June 27, several strangers who loved what she was doing donated paint, supplies and money to help Keene offset some of the cost of providing brushes, canvas, paint and something much more precious to so many children.

“Carol! Carol! Carol! Excited children scream as they take turns enjoying Keene’s attention. Everyone’s opinion is respected. Everyone has their turn.

Jacob Borkhovik, 9, and Rithvi Battarusetty, 13, paint the green background on which others will paint blades of grass. “Being in person with each other is much better,” says Rithvi.


11-year-old Manal Sultanova sees some of the paintings she and her neighborhood friends painted throughout the summer in sessions led by Carol Keene in her backyard in Buffalo Grove.

11-year-old Manal Sultanova sees some of the paintings she and her neighborhood friends painted throughout the summer in sessions led by Carol Keene in her backyard in Buffalo Grove.
-Rick West | Staff photographer

“I come because I want to see realistic paintings, and the more effort we put in, the more detail we get,” says Jacob.

“Painting just helps you move away from bad thoughts. When you paint, you have a good feeling,” says Rishi Battarusetty, 13, Rithvi’s twin brother.

“I made the heart. I made the heart,” says Nitin Pradeep, 9, who says he would rather paint outdoors with his sister Nethra Pradeep, 6, than be in the interior with youtube videos and computer games.

“They don’t look at gadgets,” says mum Kiruthika Senthilkuma. “After Carol teaches them, they’re very interested. That’s all Carol’s inspiration.”

Over the summer, Keene would post a sign on her window with the abbreviation of the day of the week and a time, and the kids would show up.

“I was riding a bike and friends told me there was an art class,” says Manal Sultanova, 11, whose painting of a moon reflecting on the water was too pretty to be kidnapped in his room. “My mom hung it up in the kitchen.”

Brothers Srimani, 10, and Kaushal Gajula, 6, wait patiently for their turn. “The painting is peaceful. It’s satisfying when you take paint with your brush and cover the canvas,” Srimani says. “Carol teaches us how to paint and what paint to use. She inspires us.”



Some have just started first grade and some have started high school, but almost all of the kids in Carol Keene's neighborhood have spent the summer at impromptu sessions in the artist's garden, learning to paint.

Some have just started first grade and some have started high school, but almost all of the kids in Carol Keene’s neighborhood have spent the summer at impromptu sessions in the artist’s garden, learning to paint.
-Rick West | Staff photographer

And kids inspire Keene.

“It’s just amazing what she did. What’s good is how rewarding it is for both of them,” says Bill Keene, her husband of 41 years. She has two art studios in their home and a website at carolkeene.com.

Children stop hours before lessons, hours after lessons and on days when there are no lessons. “Is Carol home?” ” they ask.

“They trust me. They tell me things. I’ve come to an age of wisdom. I’m like a fairy godmother,” says Carol Keene. The children kiss her. Some parents kiss her.

“It’s amazing. She has a lot of patience,” says mum Lalitha Gajula, as she watches the children buzz around Keene. “They are so happy. They want to spend time painting.”



Another layer of elements is added to a painting as the kids in Carol Keene's neighborhood art class complete their last summer project in Buffalo Grove.

Another layer of elements is added to a painting as the kids in Carol Keene’s neighborhood art class complete their last summer project in Buffalo Grove.
-Rick West | Staff photographer

One of the summer projects was to paint giant M & M’s candies on canvas. “M&M with shadows is stellar, just stellar,” Keene exclaims, acknowledging the kids who say it was their favorite project. “But that’s because you have to eat them afterwards.”

Another time, Keene handed out some smooth rocks and had the kids paint them like ladybugs with spots. They used this skill in the final painting of a large boulder and a few smaller ones adorned with mandalas, which are geometric configurations of symbols. Keene also shows children a color chart, showing which emotions are conveyed by which colors.

Some of the group paintings travel from house to house. Others are kept by the children who painted them. Akshar Cheenepalle, 11, brings a corporate touch to gatherings, sometimes calling “board meetings” to discuss important topics, Keene says. It was during one of these meetings that the children decided to raffle their final painting and donate the money from the sale of tickets to a charity in India that helps children. Keene is hoping someone who knows the best way to do this will email him at art@carolkeene.com.

Several children must leave before the end of the painting. Keene tells them they can come back another day to add their signatures, which they do. Others say they are sad that the wonderful art-filled summer is over. What will they do?

Keene smiles and says, “You can come back and paint with me when we do pumpkins in October.”

It’s a deal.

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