Arts Wire CURRENT is a project of the New York Foundation for the Arts (NYFA) -- http://www.nyfa.org
Arts Wire CURRENT features news updates on social, economic,
philosophical, and political issues affecting the arts and culture. Your
contributions are invited.
Contact Judy Malloy, editor.
To encourage the exchange of arts information and perspectives, Arts Wire CURRENT contents are not copyrighted unless specifically stated. We ask that you cite Arts Wire CURRENT as well as Arts Wire's url (http://www.artswire.org) when reprinting material. In addition, Arts Wire is very interested in documenting the use of material from Arts Wire CURRENT in other newsletters, publications and on online networks. Please send a copy to: Judy Malloy.
"The first was in Grand Forks, ND -- a use of music to contribute to that community's healing from the disastrous flood of 1997," Project Director Patricia Shifferd told Arts Wire. "The last was in Kennesaw GA -- a wonderful dance drama called THE UNSUNG celebrating the lives in dance and music of four Georgia women who contributed in important ways to the health of the state and nation." Two remaining premieres will take place early next year in suburban Chicago and Newark NJ.
"Continental Harmony has tapped a current of community interest and spirit beyond our wildest expectations," Shifferd observed. "In town after town, the composers and community people mounted community celebrations which touched important community beliefs, issues, and aspects of their heritage and culture. An overarching theme was the affirmation of sense of place -- of belonging to a landscape and a community."
Among the composer/community collaborations in the Continental Harmony program were Philadelphia-based composer Evan Solot, working with the JUNEAU JAZZ & CLASSICS music festival in Alaska. The festival commissioned GLACIER BLUE, a Concerto for Violin and Big Band which combined jazz and classical music and brought together Bruce Paulson's Los Angeles Big Band with violinist Linda Rosenthal.
In Jackson Hole, Wyoming, Wyoming-based composer/conductor Pam Drews Phillips and New York-based lyricist/composer Mary Murfitt created the musical PETTICOAT RULE for the Performing Arts Company of Jackson Hole.
At Diverse Works in Houston, TX, OrchestraX performed New York composer Eve Beglarian's THE CONTINUOUS LIFE, which in her words is "about the meaninglessness of the idea of a uniquely important moment in time like the turning of the clock from 1999 to 2000."
In Arizona, Minneapolis-based composer Brent Michael Davids' WORK FOR NATIVE AMERICAN AND EUROPEAN FLUTES AND PERCUSSION was performed on the south rim of the Grand Canyon at the Grand Canyon Music Festival.
At the Performing Arts Center, Omak, Washington the Okanogan Valley Orchestra and Chorus under the direction of Kevin Hekmatpanah performed New York-based composer Andrew Teirstein's LANDSCAPE CHANGING: A SYMPHONY FOR OKANOGAN COUNTY, a suite for orchestra and chorus. The premiere included narration by Native American storyteller Dayton Edmonds and cowboy poet Paul Steuermann.
In Sacramento, California, New York composer Han Yong celebrated the life and work of Chinese and Filipino immigrants who came to California after the discovery of gold. Han Yong's PICTURES OF YEARS (NIANHUA) was commissioned by the Camellia Symphony. Based on the twelve signs of the Chinese zodiac, the composition includes the use of three traditional Chinese instruments: dizi, erhu, and zheng. The premiere was performed by Chinese musicians Jiebing Chen, Zhiming Han, and Cynthia Hsiang with the Camellia Symphony.
"The most exciting and inspiring aspect of the Continental Harmony project was the true collaboration of the artists involved in creating the piece," Patricia Shifferd told Arts Wire. "This was a very large group, with each artist -- choreographer, composer, playwright, stage director, technical designer, music director, musicians, actors, dancers, technical director, historian -- approaching the project from a different angle, and seeing it through their individual experiences."
Amy Howton, who choreographed the performance of composer Eric Alexander's THE UNSUNG in Kennesaw GA, also emphasizes the interdisciplinary and collaborative aspects which Continental Harmony promoted. In addition to learning about the four Georgia women whom The Unsung celebrated, "the audiences also seemed to be excited by the layering of the art forms and the opportunity to explore dance as both parallel and entwined with the other arts," Howton, the artistic director of Wings, the resident dance ensemble of Kennesaw State University, told Arts Wire.
"Everyone worked tirelessly with the best interests of the finished piece in mind, even when that meant finding compromises and doing yet another reworking of a section," Howton added. "As a result, the project created a wonderful experience for all the artists as they observed and participated in the creation of a multi-media art piece, thereby learning new things about the other art forms included in the work."
"The community's deep commitment to this project is a testament to the notion that art unites us, that art breaks down barriers and affirms each of us." - Steve Heitzeg
Continental Harmony opened on February 27, 2000 in Grand Forks North Dakota with the performance of Steve Heitzeg's WHAT THE RIVER SAYS by the Grand Forks Master Chorale.
In the spring of 1997, communities along the Red River from Manitoba to Minnesota were devastated by one of the worst floods in the regions history, the project explains. Although the process of rebuilding was long and difficult, it was approached with courage and community spirit.
"I composed What the River Says as a tribute to the complex dialogue between humans and rivers, composer Steve Heitzeg writes in the program notes. "Scored for SATB chorus, piano, percussion and guitar, I had wanted to compose a work that helped the community to heal after the floods and all. The work is in three movements, with the first two movements based on texts by the American poets William Stafford and Alla Renee Bozarth. The last movement is a text of mine that I wrote specifically for this piece."
Herzog, who is known for his orchestral and chamber works written in celebration of the natural world, continues that "I have long been fascinated by the simple beauty and tender loneliness of the famous folk songs Red River Valley and Bury Me Not on the Lone Prairie, as well as the socially-conscious songs This Land is Your Land and If I Had a Hammer. For the last movement of What the River Says I have composed a simple song in this folk tradition. Set in D major for chorus, piano and acoustic guitar, this song honors the beautiful sweep of the high plains prairie and Red River Valley, and the people who live amidst this spacious land. This movement opens with the lines, "You flow through the Dakotas north through Grand Forks to Pembina/and weave your way to Winnipeg to rest in Canada. Floods and droughts, regret/things we can't forget...."
Steve Hertzog's music has been performed by leading orchestras and ensembles around the U.S. His scores include naturally-found instruments, such as stones, birch bark wind chimes, Catalpa tree pods and acorns. His music includes the film score for the PBS program, A MARRIAGE GEORGIA O'KEEFE AND ALFRED STIEGLITZ.
Herzog affirms the Continental Harmony project, the Grand Forks Master Chorale which performed the work and the Grand Forks Community in which he worked, saying that "The entire community was extremely gracious to me. Linda Hoeschler's vision and the work of the American Composers Forum on behalf of the living arts and living composers is remarkable....The community's deep commitment to this project is a testament to the notion that art unites us, that art breaks down barriers and affirms each of us."
"The unmatched power of music to meld these forces...." - Anne LeBaron
On November 12, 2000, at the Madison County Cultural Center, in Madison, Mississippi, Anne LeBaron, a professor in the music Department of the University of Pittsburgh, premiered TRACES OF MISSISSIPPI.
Many of The words which LeBaron included in the 14 section work were written by poets native to the area, including Etheridge Knight, "A Poem for Myself (or Blues for a Mississippi)"; Arna Bontemps, "Southern Mansion"; Jerry Ward, "Trueblood", Anne Carsley, "The Natchez Trace"; and Langston Hughes, "I Dream a World". Jolivette Anderson's piece "As We Ride," acted as a refrain.
"The title of this new work, Traces of Mississippi, was inspired by the historical significance of the Natchez Trace, and by the Choctaw definition of the word trace -- a path," composer/jazz musician/harpist Anne LeBaron, writes in the program notes. "In composing a work that reflects the rich diversity of Madison County, I elected to follow a path through time, beginning with a song for childrens chorus with an anonymous American Indian text, with the refrain 'may I roam'. This poem generates the notion of moving through space, and time, represented by the recurring image of a train in Jolivette Anderson's contributions, 'As We Ride'. The train also functions metaphorically, stitching together, as cars of a train are linked, vastly contrasting cultural realities...."
Performers included the Madison Station Elementary School Choir; Velma Jackson Elementary Choir; Tougaloo College Concert Choir; Gilda Lyons; Minnie Jones, blues and soul guitarist Davey Williams; rap musicians Nitti and Kreator; and featured poet Jolivette Anderson.
Anne LeBaron's compositions embrace an extraordinary array of subjects, ranging from contemporary adaptations of Greek and South American myths, to a current probe into extinction -- addressing not only endangered species in the natural world, but also vanishing icons of popular culture. Her works have been written for virtually every contemporary genre and performed and broadcast throughout the U.S. and Europe, with recent performances in Hong Kong, Sydney, Berlin, Havana, and Kyoto. She is recognized internationally for her pioneering work in developing extended techniques and electronic enhancements for the harp.
"What you will hear today is the culmination of a great deal of work by many individuals, she writes in the program notes. "The unmatched power of music to meld these forces was my responsibility, and I'm privileged to have had this grand opportunity."
PBS Mounts Web Site; Will Air Documentary In addition to the project's own web site -- http://ch.composersforum.org -- PBS has mounted a Continental Harmony website at http://www.pbs.org/harmony
Created and designed by Twin Cities Public Television (TPT) and Popular Front, the site provides an overview of the project, allowing visitors to sample works by Continental Harmony composers and hear their stories of the creative process. The site also includes information on how interested communities can join with composers to create their own works of music; educational lesson plans and interactive features designed for K-12 classrooms; and an interactive "Sound Lounge" which provides users with the opportunity for hands-on experimentation in the creation and appreciation of music.
"In showcasing all 58 Continental Harmony compositions, our Web site provides a long-lasting document of one of the most unique musical programs ever created in this country." says TPT Executive Producer Catherine Allan.
TPT is also producing a one-hour television documentary that goes behind the scenes of six of the musical collaborations. The special will air on PBS in 2001.
Second Round of Continental Harmony to Span Five Years
The American Composers Forum is currently working on plans and raising the funds for a second round of the Continental Harmony project," Project Director Patricia Shifferd told Arts Wire.
They have divided the 50 states into three groups and plan to issue a call to communities in each group in three successive years, so that the project will unfold in a rolling basis over a 5 year period. Each region of the country is represented in each group, so that the coverage will be national throughout.
"The emphasis will be similar -- encouraging small towns and cities to participate in mounting a community celebration that will speak to the civic interests they have. We will deepen our concern that the projects result in coalition-building among community groups," Shifferd said.
Sources/resources
CONTINENTAL HARMONY WEB SITE http://ch.composersforum.org/
AMERICAN COMPOSERS FORUM WEB SITE
http://www.composersforum.org
Patricia A. Shifferd, Project Director, Continental Harmony
tel: 651-224-0453 or 651-228-1407, ext. 18
PBS CONTINENTAL HARMONY WEB SITE -- http://www.pbs.org/harmony
ANNE LEBARON'S WEB SITE -- http://www.annelebaron.com
ALL ROADS ARE GOOD: NATIVE VOICES ON LIFE AND CULTURE
"I studied under Grandpa Fools Crow, a Lakota holy man. He said never bad-mouth anybody, never be envious or jealous of anybody; if you are, you won't be on the right road yourself, 'cause all roads are good." -- Abe Conklin (Ponca-Osage)
Twenty-three Native Americans from throughout the Western Hemisphere -- singers, storytellers, artists, elders, and scholars -- were invited to select objects from the collections of the National Museum of the American Indian (NMAI) for this exhibition, and talk about the reasons behind their choices. They include Ojibwe artisan and linguist Earl Nyholm; Pomo basket-weaver Susan Billy; and Santa Clara pueblo artist and architect, Rina Swentzell. Their selections encompass a wide visual and cultural range of objects, including weavings, ceramics, baskets, clothing, rattles, and shields.
"These objects, seen and interpreted perhaps for the first time by the descendants of their creators, evoked many emotions and memories for the selectors, often touching on cultural identity, family, and community ties, and the history of Native and non-Native relations," NMAI states. "The selectors' own impressions and interpretations are the force and direction behind ALL ROADS ARE GOOD: NATIVE VOICES ON LIFE AND CULTURE.
In the book ALL ROADS ARE GOOD, which is published along with the exhibition, Rina Swentzell writes: "The spiritual strength and energy of these objects go with me wherever I go. I feel that I can draw from them whenever I need to. I would like to see some of the power in these objects go back into the communities. I'm *not* talking about the objects themselves going back. I'm talking about the strength of what's contained in them getting back into the communities in some form or another. That flow of energy has to go back again into native communities."
National Museum of the American Indian (NMAI) George Gustav Heye Center -- tel 212-514-3700 More information as well as information about the book All Roads Are Good is also available on the NMAI web site at http://www.si.edu/nmai/exhibits/index.html
PHOENIX, AZ
REMEMBERING OUR INDIAN SCHOOL DAYS: THE BOARDING SCHOOL EXPERIENCE
REMEMBERING OUR INDIAN SCHOOL DAYS, the first exhibition to explore the role of the Bureau of Indian Affairs with relation to education, is a multisensory experience that incorporates voices, music, tactile elements and visual images along with textual information.
"The boarding school experience is crucial to understanding Native America today," says exhibition curator Margaret Archuleta, Pueblo/Hispanic, curator of fine art for the Heard Museum. "This exhibit allows visitors both Native and non-Native the opportunity to understand the collective history of Indian boarding schools, and to understand how that history has influenced contemporary Native American life."
The exhibition incorporates a variety of audio and atmospheric elements to immerse visitors in the experience of Indian boarding schools. Each of the exhibition's 10 sections is constructed to emulate different boarding school experiences and environments -- from the arrival, to classrooms and dorm rooms.
"Remembering Our Indian School Days celebrates the spirit of survival," the Heard Museum states. "Originally established to 'civilize' Native Americans into mainstream society, Indian boarding schools became a shaping force of a national Native American identity."
A publication, AWAY FROM HOME: AMERICAN INDIAN BOARDING SCHOOL EXPERIENCES, accompanies the exhibition.
For more information, visit http://www.heard.org/exhibits/bs.html
Deadline: January, 2001 - THE NATIONAL SOCIETY OF ARTS & LETTERS - - http://www.arts-nsal.org - is now accepting applications from artists for the 2001 National Career Awards Competition featuring small sculpture. Open to U.S. citizens ages 18-29, as of May 19, 2001. Inquire about regional-state competitions as most will require slides during the first two weeks in January 2001. Contact Joan Lincoln, National Career Awards Chair tel: 602-948-58l3 Email: lincolnjer@aol.com or go to http://www.arts-nsal.org/2001comp.html to locate nearest chapter and rules. Chapter monetary awards vary. First Place National Award $10,000. Additional monetary awards will be presented. Chapter winners receive hotel and transportation costs to National competition to be held in Pittsburgh, PA at the Carnegie Museum of Art, May 17-19, 2001. National Jurors Ann Hamilton, Tom Sokolowski and Thad Mosley. smallSCULPTURE2001 exhibition, CMOA Forum Gallery, May 20 through September 2, 2001.
Deadline: February 1, 2001 - BLUE HERON ARTS CENTER has received a Special Projects Grant from New York State Council on the Arts (NYSCA) for the program "Out On A Limb" designed to showcase new and emerging NYC artists playwrights, poets, actors and directors, musicians and media artists. Selected proposals will be offered a timeslot appropriate to the project in their Studio Theatre, a 45-60 seat black box. (approx 17' by 32'). Their normal fee will be generously subsidized by NYSCA. Proposals should include a project description, names and brief bios of those involved, and a plan of execution, including possible funding sources. Send proposals to Ardelle Striker, Artistic Director, Blue Heron Arts Center, 123 East 24th Street, New York, NY 10010. Priority will be given to proposals received by Feb 1, 2001. Projects will be presented over a total of 15 weeks through June 2001.
The American Composers Orchestra (ACO) has launched Orchestra Tech, a multi-year initiative to explore and encourage the creation, performance and development of music that unites orchestral forces with new technology. The initiative has been conceived as a way to examine the possibilities that computers and multimedia technologies have been, and might be in the future, applied to orchestral music.
Orchestra Tech launched this past April at Carnegie Hall with the world-premiere recreation of a seminal early 20th-century piece: BALLET MECANIQUE by American composer and technological innovator George Antheil. This performance utilized computer-controlled CD-ROM technology and digitally synchronized hybrid acoustic-electronic pianos in combination with live instrumentalists from the American Composers Orchestra.
This year, as part of the initiative, ACO's annual Whitaker New Music Readings will, for the first time, allow emerging composers to submit new works employing technology for consideration.
The initiative moves into high gear in October 2001 with a national conference that will bring together a dozen composers as well as conductors and other music professionals to exchange ideas, explore the state-of-the-art, and examine future implementation of technology in composition and live performance. The conference will be coordinated by composer Tod Machover, and will include several performances, as well as public symposia, master classes and other events. Following the conference, ACO will award up to three commissions, to allow composers to write new works for performance by ACO at Carnegie Hall in future seasons.
For more information, visit the ACO WEB SITE at http://www.americancomposers.org/
MILLS COLLEGE MUSIC DEPARTMENT SEEKS WOMEN STUDENTS
Mills College -- situated in one of the most vibrant and creative areas in the United States, within easy reach of Oakland, Berkeley, and San Francisco -- is looking for adventurous women students in its Music Department.
"Whether you're classically trained, improvisor, DJ, or experimentalist
whether you're interested in acoustic or electronic music
whether you have a strong vision or are unsure of which road to take
the world-renowned Music Department at Mills could be the place for you!"
The program has "small classes, a supportive and friendly atmosphere, space to imagine and create, the skills you need to realize your ideas, your questions about music technology treated with respect - and answered, a wide range of interdisciplinary activities. (dance, art, digital arts, theater, video)"
Mills Music Faculty includes composer/audio engineer Maggi Payne, and pioneering composer and visionary Pauline Oliveros, as well as distinguished composer/improvisers Chris Brown, Alvin Curran, and Fred Frith, and noted scholars Michelle Fillion and David Bernstein.
The instrumental teaching faculty includes some of the finest musicians in the Bay Area. (such as the Abel-Steinberg-Winant Trio) The concert series presents cutting-edge performers from all over the world.
"Since 1996 when I began teaching in the graduate composition program at Mills College I have been alarmed at the ratio of male to female candidates in composition and technology, Pauline Oliveros, Darius Milhaud Professor, writes. "My seminars typically have eleven men and two women. The majority of graduates in Music at Mills are men and this is a women's college. It is difficult for me to understand why women are not applying in greater numbers to this program. I would appreciate feedback and suggestions on this situation and I would love to see more women in composition and technology here at Mills."
Financial assistance is available.
For further information, please call the Office of Graduate Studies, the 510-430-3309, fax 510-430-2159 or Email grad-studies@mills.edu or check out the Mills College website at http://www.mills.edu
Deadline: December 15, musicians, SOUND TRACKS FOR GIRL'S BEST FRIEND
Deadline: January 15, 2001, video, film, or digital media, THAW 01
Deadline: January 15, 2000, contributors, THE ENCYCLOPEDIA OF SCULPTURE
Deadline: February 1, 2001, visual artists working in Texas, DIVERSEWORKS BIG AS TEXAS EXHIBITION
Details about these and other opportunities are available on Arts Wire's Web Site at http://www.artswire.org/current/calls.html
To submit "calls" for either artists or organizations, send email to artswire@artswire.org
EXECUTIVE DIRECTOR, Tucson-Pima Arts Council, (Tucson, AZ)
ASSISTANT PROFESSOR/ARTIST, University of Southern California, (Los Angeles, CA)
MANAGING DIRECTOR, Tales & Scales, (Evansville, IN)
ARTISTIC ASSOCIATE / CO-DIRECTOR OF COMMUNITY ENGAGEMENT, Arena Stage, (Washington, DC)
PROGRAM SPECIALIST II, Missouri Cultural Trust Fund, Missouri Arts Council, (St. Louis, MO)
VIDEO COORDINATOR; PEACEMAKER/VIDEO ARTIST, TRUCE, (New York City, NY)
TEACHERS, Shomer Shabbas Recreation Center, (Rockland County, NY)
ARTISTS- TEACHERS, The Palo Alto Art Center, (Palo Alto, CA)
COMMUNICATIONS COORDINATOR, Whitney Museum of American Art, (New York City, NY)
GALLERY/ARTIST STUDIO SPACE PROGRAM COORDINATOR; EDUCATION COORDINATOR, The Bronx River Art Center, (Bronx, NY)
BUSINESS MANAGER, Rockefeller Empire State Plaza Performing Arts Center, (New York City, NY)
GRANTS MANAGER, New Museum of Contemporary Art, (New York City, NY)
DEVELOPMENT DIRECTOR, Austin Musical Theatre, (Austin, TX)
DEVELOPMENT MANAGER, Princess Grace Foundation, (New York City, NY)
MARKETING DIRECTOR, American Repertory Ballet, (New Brunswick, NJ)
BENEFITS & STAFFING ADMINISTRATOR, The Asian Art Museum (San Francisco, CA)
ADMINISTRATIVE SPECIALIST I, Syracuse University Continuing Education, Arts and Humanities Programs, (Syracuse, NY)
EXECUTIVE ASSISTANT, OFFICE MANAGER, ArtsConnection, (New York City, NY)
DEVELOPMENT ASSISTANT, The NY Botanical Garden, (New York City, NY)
GALLERY/ADMINISTRATIVE ASSISTANT, Meredith Palmer Gallery, (New York City, NY)
COLLECTIONS ASSISTANT, (part-time position) NBM, (Washington, DC)
OFFICE MANAGER, Design and Exhibition Departments, Cooper-Hewitt, National Design Museum, (Washington, DC)
INTERN, New York City Opera, (New York City, NY)
CULTURAL INTERNSHIPS, (paid) Massachusetts Cultural Council, (Boston, MA)
"Music is a high context art in Native American culture -- that
is, music is often deeply connected with ceremony, religious
beliefs, or other art forms such as dance and dress," Virginia
Giglio writes in "Building a Native American Music Collection" on
NATIVECULTURE.COM. "Therefore, the best way to learn about this
complex music is to go to the source: the musicians themselves."
Building a Native American Music Collection provides access to
both recordings and web sites for Native American Musicians,
including Chief James Billie, singer, songwriter and the Chairman of the
Seminole Tribe of Florida; Sharon Burch, (Navajo) who uses her voice to
express
traditional Navajo ways in a contemporary context; and Primeaux and Mike
--
Verdell Primeaux (Sioux) and Johnny Mike (Dine') who bring out songs of
the Native American Church with harmony and electronic backgrounds.
The site also includes a listing of types of music-- from Songs
that accompany the Butterfly Dance of the Pueblo people; to Peyote Songs:
Songs
of the Native American Church, where the respectful use of peyote is part
of the
ceremony to Sneak Up Dance: Powwow dance in which dancers portray the
craft of
stalking the enemy.
Visit NATIVECULTURE.COM --
http://www.nativeculture.com/home/default.asp --
to find out more.
Arts Wire's ARTQUARRY (formerly WEBBASE) is a searchable database
of arts related websites available on Arts Wire's public home page
at
http://www.artswire.org/artquarry
Created as a public service to help the online arts community to
keep abreast of arts sites and for arts websters to promote their
new or renovated sites to an arts audience, ArtQuarry, (and
WebBase before it) has served the web since 1996.
Artists and art organizations are invited to visit ArtQuarry both
to search art sources and to add their sites. Among the recent
entries are:
BOOKSTORMING --
http://www.bookstorming.com -- is dedicated to the
online
presentation, distribution and sale of contemporary art
books, catalogues and publications as well as contemporary
artists books, limited editions, audio and numerical recordings.
INDIEPLANET --
http://www.indieplanet.com -- is a community site
dedicated to
the independent artist and independent, creative
expression. IP covers a wide range of disciplines in the arts and
related culture, including film, music, publishing, theater, fine
art, politics, business and technology. The site concentrates on
providing forums and opportunities for artists to talk to each
other, exchange ideas and get practical help in creating their
art.
Founded in 1993, THE NY UNDERGROUND FILM FESTIVAL --
http://www.nyuff.com --
is one
of the largest and oldest underground film and video festivals in the US.
Each
March at ANTHOLOGY FILM ARCHIVES in NYC, the NYUFF showcases the outer
fringes of independent filmmaking.
Poet Gwendolyn Brooks, 83, died on December 3, 2000 in her home on
the South Side of Chicago.
She was the author of more than twenty books of poetry, including
CHILDREN COMING HOME; (The David Co, 1991) BLACKS; (1987) THE
BEAN EATERS; (1960) ANNIE ALLEN; (1949), and A STREET IN
BRONZEVILLE. (1945)
In 1950 she become the first African American to win a Pulitzer
Prize.
"At a time when racism was so rampant, Gwendolyn Brooks was
almost like a literary Joe Louis. At a time when black people were
being clubbed into submission because of their race, it was her
eloquence in her poetry that got many African-Americans to look at
their community, and to see their minds as something of great
worth," THE CHICAGO TRIBUNE quotes Sterling Plumpp, a professor
in the departments of African-American Studies and English at
the University of Illinois at Chicago, as saying.
"One of the primary things I really love about Miss Brooks is
that she was at the top of her career and she took risks by
listening to poets younger than her," Chicago poet Tyehimba Jess,
told the Tribune. "She left Harper and Row and went to Third
World Press. She stayed on the South Side, she didn't
move to New York. She wrote about Chicago."
In "Corners on the Curving Sky", Gwendolyn Brooks writes:
"Our earth is round, and, among other things
Sources/resources:
Marla Donato and James Janega
Vanessa Gezari
VOICES FROM THE GAPS: GWENDOLYN BROOKS
--
http://voices.cla.umn.edu/authors/GwendolynBrooks.html
An Excite search engine for Arts Wire CURRENT is located at
http://www.artswire.org/current/AT-Currentquery.html
The engine allows anyone interested in arts news to find
information in the Current archives as far back as 1995.
To subscribe to Arts Wire's Current, send an email message to
majordomo@artswire.org. In
the message body, type "subscribe current".
(The Subject: line of your message will be ignored, and can be left
blank.)
To be removed from this list, send an email message to
Individual membership is
$60/year. Organizational membership is $100.00/year. Larger amounts are
welcome! Details about Arts Wire membership benefits are available on our
web site at
http://www.artswire.org
Major support provided by the Masters of Arts Management Program of
Carnegie Mellon University.
Arts Wire® is a service mark of the New York Foundation for the Arts.
Individual membership of the New York Foundation for the Arts.
ARTS WIRE WEB REPORTS
VIRGINIA GIGLIO: BUILDING A NATIVE AMERICAN MUSIC COLLECTION
NEW ON ARTQUARRY
ELSEWHERE ON THE NET
GWENDOLYN BROOKS, 1917-2000
That means that you and I can hold
completely different
Points of view and both be right.
The difference of our positions will show
Stars in your window. I cannot even imagine.
Your sky may burn with light,
While mine, at the same moment,
Spreads beautiful to darkness....."
"Illinois Poet Laureate Created Art from her Life"
CHICAGO TRIBUNE --
http://www.chicagotribune.com
December 4, 2000
"In Praise of a Great Poet"
CHICAGO TRIBUNE --
http://www.chicagotribune.com
December 11, 2000
Arts Wire CURRENT is available at
http://www.artswire.org/current.html and an archive of past issues
can be found at
http://www.artswire.org/current/archive.html
Map |
News |
ArtQuarry |
SpiderSchool |
Workshops |
Join |
Login |
Contact Us |