RIVER POETS Poetry Reading Sunday Afternoon at Stormwater Studios

The public is invited to attend a poetry reading Sunday afternoon featuring Jasper Magazine Poetry Editor Ed Madden at Stormwater Studios, 413 Pendleton Street, behind One Eared Cow Glass.

Organized by Libby Bernardin and Susan Craig, the reading will also feature Nadine Ellsworth-Moran, Ann-Chadwell Humphries, Ruth Nicholson, and (in adsentia) Mary O’Keefe Brady, as well as Bernardin and Craig themselves.

Madden, who is the former poet laureate for the city of Columbia, will be reading from his newest collection, A Pooka in Arkansas.

The event begins at 4 pm and will conclude with a Talk-Back session with the poets.

Don’t Call It A Comeback: The Redemption of Shekeese Tha Beast

by Kevin Oliver

 

On Fat Rat Da Czar’s classic 2009 release Cold War 2, “Do Whud I Do” opens with DJ Shekeese The Beast shouting “Can you hear me out there? We back!” before Fat Rat intones, “If you knew what I knew, then you could do what I do.” The partnership between the two Columbia, South Carolina hip-hop artists made them a marquee act and flag-bearers for the genre across the southeast for nearly twenty years, before Shekeese, in his own words, “went dormant” and focused on other business pursuits. Last year, as Fat Rat Da Czar readied a new campaign of hip-hop shows and productions, he re-enlisted his former DJ to appear on stage with him again and just like that, Shekeese Tha Beast was back as hype man extraordinaire and hip-hop ambassador. In a recent conversation with Jasper, Sherard Shekeese Duvall opened up about his entry point into hip-hop, the other pursuits that have occupied his time, and how he has come full circle to reconcile his disparate, multiple pasts into a unified future with a mission to bring South Carolina hip-hop into a new generation. 

Before he was Shekeese Tha Beast, he was just a kid named Sherard, growing up in the neighborhood–but it was the formative experience of his life, he says now in retrospect.

“I grew up in Ridgewood behind Eau Claire High School, so it was a super, super black experience,” Duvall says. “The only time we saw white folks was when we went downtown.” It was a childhood surrounded by family, who shaped his worldview from an early age.

“My family was huge, and there were relatives on both my mom and dad’s sides who were into music, art, sports, politics, it was all there. I had an uncle who was political but also into Stevie Wonder, he gave me Malcolm X books when I was a kid. I had another uncle who played guitar, my grandfather played piano, so art, music, and all this stuff was all around me.”

It was a specific moment that led directly to hip-hop for Duvall, however, a purchase his mother made.

 “She bought me a 45 of LL Cool J’s ‘Candy’ and on the back side was ‘Go Cut Creator Go’ and it blew my mind, I didn’t know how they were making those sounds,” He says. “Prior to that it was seeing the video for Run DMC’s ‘Rock Box’, and I couldn’t figure it out, like was the band the DJ on top of the car? That’s what made me want to be a DJ.”

As an entry point into hip-hop, it turned out to be the right one for Duvall as high school turned into college and beyond. 

“After I got out of Columbia High, I met all the guys in Beat Junction Project, and around that time I also met Fat Rat Da Czar. The Beat Junction Project was doing its thing around Columbia, and he was doing his, and Streetside had put out a record that I was spinning at WUSC-FM.” As a student DJ, Shekeese Tha Beast was born and the show “Non-Stop Hip-Hop” put him on the airwaves weekly, featuring lots of local hip-hop talent in addition to his own DJ skills. His reputation grew, he hosted shows on Hot 103 and the Big DM, and Fat Rat came back around.

 “Fat was coming out with a mixtape, and they were looking for a DJ for it,” Duvall says. “Not sure that one ever came out, but shortly after that he went on to start doing his solo stuff and we ended up collaborating on the mixtape ‘Fat Rat Is Dead,’ which was the beginning of the whole Shekeese Tha Beast and Fat Rat Da Czar thing.”

 It was a perfect collaboration, Shekeese says, which explains the longevity of the relationship that endures to this day.

 “We have a lot in common when it comes to not only how we saw hip-hop but also how we thought about opportunities and hard work, it was just a similar perspective that clicked.”

There were multiple releases that flowed after that, from the “Cold War” series of traditional hip-hop albums with Shekeese as hype man and DJ while Fat Rat dispensed rhymes and wisdom using his instantly recognizable flow. For a time, the pair was synonymous with South Carolina hip-hop, and credit is certainly due to them for all they’ve done to promote and support the genre within the state. Then Shekeese Tha Beast went silent, at least as a performing personality. The reasons behind that dormancy were both personal and professional, he reveals.

 “Unintentionally, the separation with that part of me had to do with its popularity,” He says. “I was all over the radio, people knew me from that, from TV, doing the Love Peace and Hip Hop festival, all of that added to the notoriety and recognition.” What was happening behind the scenes, however, was that he was pursuing a professional career as a filmmaker and videographer, first with Genesis Studios and then with his own, still thriving operation as OTR Media Group. 

 “For the film stuff I felt like it needed to be different, so I was Sherard Duvall, not Shekeese Tha Beast, in that world,” He says. “When OTR came along I was still of the mind to keep things somewhat separate, because I didn’t want to enter rooms as Shekeese, I wanted to be Sherard, to be taken seriously as a business owner and not have it be like ‘Oh, the DJ is here.’”

For Duvall, the link between his hip-hop DJ persona and the work he was doing as a short film specialist and documentary filmmaker wasn’t immediately apparent, but it slowly dawned on him that he wasn’t doing anything all that much different after all.

 “Hip-hop is a storytelling form, and OTR Media Group is built around storytelling in everything we do, from media literacy to media strategy work, nonfiction, short and long form media content,” He says. “Hip-hop is incredibly dense, we’re able to use a lot of words, mesh a lot of styles together, and we’re able to connect with more people in more ways than you can with a lot of other forms of music.”

 In 2023, Sherard Shekeese Duvall, the filmmaker, husband, and father re-emerged as Shekeese Tha Beast on stage with Fat Rat Da Czar for several performances, something that Duvall says he’s enjoyed even more than he thought he would.

 “Stepping back into the Shekeese Tha Beast thing has been one of the most joyous times in my life,” he says. “It was weird when I put it down because there was an article in the paper about me quitting, people didn’t know what to call me anymore, I treated it like ‘that thing I used to do’--but I realized when I was back on stage that I had been neglecting a part of myself; I’m hip-hop through and through and it made me feel whole to be on stage again.”

 It’s the example and the role model, even mentor that he can be for the next generation that’s driving Shekeese Tha Beast now, he says–starting with his own son. 

“Until recently my son had never experienced Shekeese Tha Beast, he was too young to remember me taking him to meet KRS-One or Lauryn Hill,” Duvall says. “He’s eleven now and I took him to the show we did at the Music Farm in Charleston. Him seeing me do that might not register now, but he’s a creative, free spirit kid and it might matter later on when he’s thinking, ‘You know, it’s alright that I’m left of center, that I’m different, because my dad is super different.’” 

For now, Duvall says being “back” just means he’s whole, that his work in film and in the community will go hand-in-hand with his hip-hop persona and all that it entails.  

“I feel like Shekeese Tha Beast is back for all the right reasons,” He says. “Where I find comfort now is in being a hip-hop ambassador for South Carolina. It’s more beneficial to the culture of our state to celebrate the diversity instead of nitpicking what is and isn’t hip-hop. So, all I can tell you is that wherever South Carolina hip-hop is, that’s where you’ll find Shekeese Tha Beast.”

First Official Exhibit at Gemini II Studios - and you can be involved!

Call for Art

Call for Support

Gemini II Arts announces their first official exhibition — albeit “while renovations continue” at their evolving space near City Roots and the Hunter Gatherer Hangar.

Founder Ron Hagell shares this news with the Jasper Project:

“I'm sure by now you are aware that over the next few months this [Gemini II] will become the largest group of artist studios in Columbia with its own exhibition spaces and tons of parking close to City Roots (F2T) and the Hunter-Gatherer Hanger. In the hottest new spot in town Rosewood/Owens Field!

It's going to be super for the public and artists. Please join us and bring friends.

For artists:  If you have not signed on to participate in this show, you can still join us or bring work to show/sell. Just deliver it to the site on 14 or 15 September but text me first so I know you are coming. Be sure all your info is on your work. 

If you are showing work, please donate $10 to help with costs or you can go to our site and click on the Donate button there where you can do it through PayPal directly or with a credit card.

...or, if you just want to help us out, you can donate at these links as well.”

Eastmont Theatre Company - NEW Grassroots Theatre Company Makes Debut This Weekend with END of the LINE

Eastmont Theater Co.

is incredibly proud to present our first ever production, End of the Line!

Premiering August 12th, we are very excited to share our completely original work with the broader Columbia community.

Synopsis: Four total strangers board a train one evening. After a fight breaks out, they find themselves stuck on a never-ending ride. Now, they have to learn how to truly see each other if they ever hope to escape.

When: August 12th at 8 pm

August 13th at 7:30 pm

Where: Eastmont Theater Backyard

917 Eastmont Dr., Columbia, SC.

Tickets are $12 for an in-person viewing. 

Reserve your ticket today!


https://tinyurl.com/bp7hxfry


Celebrating the 2023 Play Right Series and Everyone Involved ~ a message from Cindi

Congratulations to the Cast & Crew of the PRS 2023 Winning Play THERAPY by Lonetta Thompson!

Cast & Crew of Lonetta Thompson’s THERAPY

Emily Deck Harrill, Ric Edwards, Marilyn Matheus, Michelle Jacobs, Allison Allgood, Elena Martinez-Vidal and center front Lonetta Thompson

Forgive me if this message still reads a little giddy but we’ve just completed the culmination of the Jasper Project’s 2023 Play Right Series and it just feels so good!

Here’s a little history. I came up with the idea for the Play Right Series in 2017 as a way to promote and support original playwrighting from SC artists while at the same time gently informing members of the community about how much time, energy, talent, and WORK HOURS go into the creation of theatre.

I have this theory that one of the reasons arts (of all disciplines) are not valued as they should be is that, due to our lack of proper arts education and appreciation in schools, among other reasons, the average working South Carolinian doesn’t learn and build their worldview knowing that in addition to art being a talent, it is also work. If the arts are not a part of one’s life, many people think of art as a hobby or something only children engage in until they grow out of it. Think piano and ballet lessons. The average person may not discern the difference in hobbyists, crafters, and artists—all important parts of our culture, but also distinctly different. They may not realize how many of their fellow South Carolinians make their livings as professional artists or in one of the unique and highly skilled jobs that fall under the profession of arts administration.

When we started the Play Right Series in 2017 with our first play, Sharks and Other Lovers written by David Randall Cook and directed by Larry Hembree, I hoped that by inviting Community Producers to become a part of the process they would act as diplomats of local theatre, sharing their experiences and encouraging others to make live theatre part of their entertainment options. The plan was—and still is—that we ask Community Producers to invest $250 each in the production of a brand-new juried play by a SC playwright with their investment going to pay a cast and crew (and playwright) to workshop that play from the first table reading to a ticketed staged reading. (Some, like Bill and Jack, donate even more.) The CPs are invited to meet with the cast and crew over the course of a month or so and take part in the workshopping of the script before serving as our guests of honor at the public staged reading.

In 2022, Chad Henderson directed last year’s winning play, Moon Swallower by Colby Quick to a SRO audience. It was almost a full production of the play.

Last night, under the direction of Elena Martinez-Vidal with stage management by Emily Deck Harrill, this year’s Community Producers and generous sponsors produced the staged reading of Therapy by SC theatre artist Lonetta Thompson. The cast included Marilyn Mattheus, Allison Allgood, Michelle Jacobs, and Ric Edwards. Illustrious SC playwright and Jasper Project board of directors member Jon Tuttle oversaw the entire project for the second year in a row and all I did was bring cookies.

RIC EDWARDS

ALLISON ALLGOOD

MARILYN MATTHEUS

MICHELLE JACOBS

LONETTA THOMPSON (LEFT) AND EMILY DECK HARRILL

Some of last year’s CPs were so pleased with the project in 2022 that they came back this year –thank you to Kirkland and James Smith and to the incredibly supportive Bill Schmidt for this. New CPs and sponsors included Shannon and Steven Huffman, Jack and Dora Ann McKenzie, Betsy Newman, and Amy and Vincent Sheheen, as well as new JP board members Keith Tolen and Libby Campbell. JP board president Wade Sellers and I were CPs again, as well.

This morning, messages streamed in on the group email thread Jon initiated for ease in communication, showering each other, actors, CPs, and playwright alike with congratulations and heartfelt feedback. Keith Tolen says, “I will never watch a performance the same without thinking of the work that makes it seem effortless. Thanks to all because you made it an experience that I will not soon forget.” Kirkland Smith says, “It was a wonderful experience and I very much appreciate your openness, honesty, and talent!”

AUGUST 6, 2023 PANEL TALK-BACK

AUGUST 6, 2023 PANEL TALK-BACK

AUGUST 6, 2023 PANEL TALK-BACK

It is extremely unusual for me to use the term “I” when referencing anything the Jasper Project does. That’s because without an enthusiastically working board of directors who share the same passion that board president Wade Sellers and I have about the importance of service to our fellow artists and arts administrators, we wouldn’t be able to accomplish anything. But this time, I’m so proud of how this little seed of an idea of mine has been implemented and improved upon by the generous and talented individuals who participated in Play Right Series 2023, that I want to claim it! It’s a legacy thing, but also, the Play Right Series is Jasper at its finest. An idea becomes a mission and good people play parts small and large to fulfill that mission, making it a reality.

Congratulations to everyone involved in Play Right Series 2023. In addition to everyone already mentioned, this includes board member Bert Easter, who shared some of his beautiful items from Easter Antiques at the Red Lion for the stage set, and to Ed Madden for helping Bert haul said stuff to and from CMFA; also to Christina Xan, Libby Campbell, and Kristin Cobb for working the event; to Bekah Rice for her graphic arts skills and for laying out the book that many attendees and all CPs and sponsors took home with them; to Bob Jolley at Muddy Ford Press for donating his time and financial resources to this project; and to One Columbia and Columbia Music Festival Association for rehearsal and performance space.

Clearly, we have the village that it takes to birth new art in Columbia, SC.

 

Music for All Ages–The Columbia Arts Academy Celebrates its 20th Anniversary

By Liz Stalker

Saturday, August 12th, the Columbia Arts Academy will be hosting open houses at all of their locations to celebrate their 20th Anniversary! The open houses will take place that day from 3-6 p.m., and the public is encouraged to stop by any of the three locations spread throughout the Columbia area: the Columbia Arts Academy (Rosewood Dr.), the Lexington School of Music (Barr Rd.), and the Irmo Music Academy (Lake Murray Blvd.). The festivities will include free food, tours, and an “instrument petting zoo” where guests can get a taste of the various instruments the school provides lessons for. As a part of the celebration, the school will also be giving away door prizes, including a grand prize of a year of free music lessons!  

Starting in 2003 as a small-scale studio with founder Marty Fort as the only instructor to 30 students, the Columbia Arts Academy has since grown into the largest private music school in the state of South Carolina. The journey has involved plenty of ups and downs. In fact, when Fort first acquired the Rosewood space, he had a lot of work to do to make it habitable for his business. “When I started Rosewood,” he says, “there were rats, there was broken glass, there was no carpet, no wall. It was $60,000 on a Visa and a MasterCard to get Rosewood off the ground.”  

But get it off the ground he did, with the school expanding into a second location just a decade later in 2015. This expansion was necessary as the Columbia Arts Academy had hit 500 students and counting, a huge milestone for the company, though it pales in comparison to the over 1700 students the school now serves.

 The school offers instruction for an incredibly wide range of instruments–piano, guitar, voice, bass, drums, banjo, ukulele, violin, and even mandolin. Fort himself is well-versed in most, if not all, of these instruments. In the spirit of modesty, he admits that violin would likely be his weakest instrument but notes that, “Once you really lock into music, there’s so much crossover.”  

The school also sees an incredibly diverse age range among its students, with the youngest of its pupils being just three and four years old and its oldest musical scholars approaching their eighties and nineties. This broad range of ages reflects the school’s highest purpose: to serve the musical passions of the community at large.

In addition to music lessons, the Columbia Arts Academy has provided opportunities for its students to perform at highly respected and admired venues and performance halls, such as the Rock and Roll Hall of Fame and the Guest House at Graceland. Most recently, students traveled to New York to perform at the Weill Recital at Carnegie Hall.  

Closer to home, the Columbia Arts Academy band, including Fort himself, performed alongside Kirk Hammett, lead guitarist of Metallica, at the Columbia Museum of Art, an opportunity that opened the school up to a massive platform.  

Fort is immensely proud of the growth and success his business has seen over the last two decades. He has such an obvious and enthusiastic love for each location he has been able to bring to life, describing them all as “kind of like kids–they all have their own personalities.” Their perpetuity within the community is a testament to not only his robust work ethic and the excellence of his staff, but the surrounding community’s love and appreciation for music.

“You know, most businesses don't make it five years,” he says. “20 years is a long time, I’m just so proud, and now, I think for me, it's a reset. High fives, we've got a great party planned.”  

Regarding this party, Fort says he’s most excited just to see the community turn out and show their support. “We love it when people come and check us out,” he says. “We work very hard to keep our places nice, clean, looking awesome, and what I'm looking forward to is people coming and saying ‘hi.’” 

For more information visit the Columbia Arts Academy website, or call or text (803)-787-0931.

SC Academy of Authors Sponsors Jasper's Combahee Prize for a SC Writer of Color in this year's Fall Lines

The Jasper Project is delighted to announce that the South Carolina Academy of Authors will be the sponsor of the 2023 Combahee Prize for a SC writer of color in this year’s Fall Lines – a literary convergence journal.

Founded in 1986, the South Carolina Academy of Authors (SCAA) is a nonprofit organization which recognizes distinguished South Carolina writers, living and deceased, through induction into the Academy. It also supports developing writers with its Coker Fellowships and Student Prizes in Poetry and Short Fiction. 

"The SCAA is very pleased to join with The Jasper Project in supporting the Combahee River Prize,” says Marybeth Evans, chairman of its Board of Governors. “The Academy is dedicated to nurturing and supporting South Carolina’s literary talent. It deeply values the multicultural diversity displayed in the work of all the extraordinary writers in our state."

The SC Academy of Authors joins the Friends of Richland Library in sponsoring these three prizes: the Broad River Prize for Prose, the Saluda River Prize for Poetry, and the Combahee River Prize for a SC Writer of Color in Poetry or Prose. Each prize offers $250 cash and publication in Fall Lines - a literary convergence, volume X.

The deadline for submitting your work for consideration in this year’s Fall Lines - a literary convergence is July 31, 2023.

Submit to Fall Lines volume X here.

Jasper Wants YOUR Review of the Barbie Film!

In the 24 some odd hours since the movie Barbie has been released Jasper has been reading some fascinating insights and reviews on social media. Clearly, this film is serving as a catalyst for emotions, retrospection, contemplation — all the feels.

It strikes us here at Jasper that by sharing our thoughts about the film we might also grow as people, as film viewers, and as a community of individuals who want the best for our children, ourselves, and each other.

Please send us your personal reviews of Barbie as well as the take-away message you brought home with you. Your response is important and valid. We’ll publish a selection of them in next week’s Sundays with Jasper (subscribe at bottom of page link).

Just send your words to us as an email, a word doc, or a pasted clip from your socials and let us know if you are cool with us using your name or if you’d like to be anonymous. The email is JasperProjectColumbia@gmail.com and we’re looking forward to hearing what you think.

Stormwater Announces Group Exhibition as part of BIPOC Residency Program

From our friends at Stormwater Studios

Stormwater Studios is thrilled to announce a group exhibition titled "Cultural Heritage | Creative Expression” which showcases the finalists of the inaugural Stormwater one-year Residency Program, designed to support and celebrate diverse voices within the artistic community. The program was made possible by the generous contribution of an anonymous donor with matching funds from One Columbia, to help foster an inclusive culture at Stormwater. The exhibition will be on display July 19-30th, with an Opening Reception on July 20th, from 5-8pm, and an Artist Talk and Closing Reception on July 30th, from 1-3pm.

The Stormwater Residency aims to provide a professional working environment that welcomes all forms of visual creative expression. As part of this year-long residency, the selected artist will have the opportunity to step outside their usual creative settings, allowing for reflection, research, experimentation with various materials, and the creation of a comprehensive body of work, which will culminate in a solo exhibition.

To identify the resident artist, Stormwater engaged prominent leaders in the art community to form a dedicated committee. Drawing upon their extensive expertise, the committee thoughtfully nominated and meticulously narrowed down the selection, culminating in the final selection process at Stormwater.

In recognition of the exceptional talent among all the residency finalists, Stormwater will proudly host a two-week art exhibition that will serve as a platform to showcase their extraordinary work. The participating artists include Nakisa Beigi, Malik Greene, Raishad Glover, Lori Starnes Isom, Quincy Pugh, Maya Smith, and Cedric Umoja. Through a diverse range of artistic expressions, the artists comment on their respective cultures, the immigrant experience, and convey emotions through poignant and nostalgic narratives. The themes explored will revolve around identity, culture, and politics, facilitating a deeper connection between the viewers and the artwork.

The exhibition will be open to the public from July 19th to July 30th, providing an opportunity for art lovers and the wider community to experience the powerful and thought-provoking artworks created by these exceptional artists. To kick off the exhibition, an opening reception will be held on July 20th from 5-8pm, allowing attendees to engage with the artists and gain deeper insights into their creative processes. Furthermore, a closing reception and artist talk will take place on July 30th from 1-3pm. Art historian and critic, Frank C. Martin, II, Ph.D., a member of l’Association Internationale des Critiques d’Art (AICA - an international art critics’ association) will act as moderator. Dr. Martin will provide an opportunity for attendees to engage in meaningful conversations with the individuals whose works will be on display, intending to enhance their understanding of the artists' visions.

 

This program is sponsored by South Carolina Humanities, a state program of the National Endowment for the Humanities; inspiring, engaging and enriching South Carolinians with programs on literature, history, culture, and heritage.

 

Storyboarding Workshop with Corey Davis at 701 CCA

Corey "Roc Bottom" Davis Storyboarding Workshop

701 Center for Contemporary Art

Saturday, July 15, 2023

1 pm to - 3 pm

Join multi-talented creative, Corey “Roc Bottom” Davis for a workshop exploring the process of storyboarding. In conjunction with Tyrone Geter’s Artist in Residence at 701 Center for Contemporary Art, Corey will guide the participants through the history of graphic novels while helping them develop their own hero’s storyline.

Corey Davis has vast knowledge and expertise in utilizing ink and pencils to create comics. He will explain how to communicate ideas through visual scenes in a sequence during this workshop. You will learn the step-by-step creative process to create your own storyboard. By the end of the session, you will have a storyboard outlined to take home and use again to develop your own characters and stories and share the new worlds you create with the community.

For more information on Roc Bottom and to view his work please visit https://www.rocbottomstudios.com

For more information about the workshop please visit https://www.701cca.org/.../storyboarding-workshop-with.../

We are located at 701 Whaley Street, Columbia, SC 29201. Please take the elevator to the second floor to the Main Exhibition Gallery.

Rocbottom Studios

Chapin Theatre Company's 3rd Annual 10 Minute-ish Play Festival

Chapin theatre Company’s third annual 10 Minute Play Festival will be held on Friday and Saturday, November 3 & 4, 2023, at our new building at 830 Columbia Ave, Chapin, SC.

Submissions of short plays or sketches written by local peeps is a great opportunity to see your words come alive on stage. If selected, you will have an option of directing and/or casting your play.

Specific requirements:

  1. Playwright must live in or be from South Carolina.

  2. Must be 10 minutes or less.

  3. Maximum of 5 characters

  4. Must have minimal set and technical requirements

  5. Keep it PG 13 or less

  6. Should be in a "play format" and saved as a pdf, using our guidelines. Play title and page number must be written on each page

  7. This is a blind submission, so your name must NOT be written on the script

  8. Only two plays will be accepted by each playwright. Only one can be included in the festival

  9. Winning plays cannot be revised after selection

  10. All entrants must complete and submit the entry form

Submissions begin June 15.
Deadline for submissions is August 26, 2023.

Spend the 4th with the SC Philharmonic at Segra Park!

From our friends at the SC Philharmonic —

TUESDAY, JULY 4, 2023 | GATES: 6:30 PM
CONCERT: 8:00 PM |
@SEGRA PARK

BUY TICKETS NOW

DON’T MISS THIS EPIC 4TH OF JULY CELEBRATION!

Join us at Segra Park for Fireworks with the Phil 2023. Gates open at 6:30 PM and the orchestra will begin playing around 8:00 PM. In its third year, this patriotic program has become a new Independence Day tradition for Midlands families. This year’s fireworks display is even bigger than last year’s, and you’ll get to enjoy all of Segra Park’s fun ballpark food and drink.

Segra Park is a CASHLESS venue and is a CLEAR BAG POLICY venue.

Call 803-726-4487 ext. 1 with questions or to inquire about Club Seating / Suites and food packages.

Please Note: Our rain date is July 5th, 2023 at the same times.

BUY TICKETS NOW

VISIT OR SEND US SNAIL MAIL:
1704 Main Street, Suite 100
Columbia, SC 29201

GIVE US A CALL:
803.771.7937

Columbia Arts Academy to Perform at Carnegie Hall!

“How do you get to Carnegie Hall?

Excel as a student at Columbia Arts Academy!”

~~~~~~~~~~

On Saturday, July 8th, music students from the Columbia Arts Academy will perform at Carnegie Hall in New York City! The performance begins at 1 p.m.  

The students are invited to perform one acoustic piece each. Regarding what kinds of music they will be tackling, founder Marty Fort says, “I’m very excited for the program. We’ve got performers from age 7 to 65 performing piano, violin, voice, guitar, drums, and it’s a real eclectic mix. We’re performing everything from Chopin to KISS and that says it all.” 

He goes on to say, “Admittedly I’m a little nervous to perform at the Weill Recital Hall at Carnegie Hall. Being from Columbia, starting out playing in Five Points at the age of 15 at Rockafellas and now being on that stage in New York City, it’s pretty surreal. But I’m thankful for the experience, the staff, teachers, students, and parents for all being a part. It’s a key part and perfect way to help our 20th Anniversary for Columbia Arts Academy”. 

This isn’t the first time Fort has taken his students on exciting excursions. In fact, it is becoming part of his modus operandi. In the past Fort has taken students on the road to such iconic music locations as Graceland, the Rock ‘n’ Roll Hall of Fame, and Columbia’s own Koger Center for the Arts.

Columbia Arts Academy Student and Faculty Performing at Graceland

 

Columbia Arts Academy Student Shane Manning Performing at Koger Center for the Arts

Screen capture of Metallica’s Kirk Hammett social media post — performing with (pictured) Columbia Arts Academy Founder Marty Fort at Columbia Museum of Art, 2020

Family, friends, and supporters of all kinds are encouraged to attend if they are able, and tickets are $25 each. For more information about the performance, what audiences can expect, and to purchase tickets, visit the Columbia Arts Academy website.  

And watch this space as Jasper continues to celebrate the 20th Anniversary of the Columbia Arts Academy in the weeks to come! To give back to the community, the school is hosting a special 20th Anniversary celebration Friday August 4th through Sunday August 6th. The public is welcome and encouraged to stop by any of their locations in Columbia on Rosewood Drive, Lexington on Barr Road, and Irmo on Lake Murray Blvd.

 

By Liz Stalker

“Record Keeping” Through Paint: A Q&A with Malik Greene By Liz Stalker

Resilience, 2022, Oil on Canvas, 36 x 36 in

Over the weekend of July 6th-9th, Stormwater Studios will host Malik Greene’s visual art show, My Eyes. The opening ceremony will take place on Thursday, July 6th from 6-8 p.m., and the closing ceremony will take place on Sunday, July 9th from 3-6.

 

Greene, a Columbia-based painter, is Stormwater Studios’ first artist-in-residence in their year-long BIPOC Residency Program. He seeks to capture the realities of his life and perspective of the world around him. He describes using painting as a form of “record keeping,” allowing for the permanence of a fleeting moment, thought, or action, and describes his work as a “bridge between creativity and capturing his own personal epic.”

 

Jasper: The central theme of the show, the neglect of Black children, especially young Black boys, within the American public school system, is incredibly interesting. What inspired this focus for this collection of works? Was there any personal or interpersonal experience you drew from?  

Greene: A lot of my work is really inspired by whatever needs that I believe should be addressed within the communities I am a part of. So before I sit down and think of what it is exactly I am creating I ask myself if is this an issue that is relevant to myself and even those within my community at large. The body of work originally started off as No One (Ever) Really Fails (There May Be A Reason Why) and it addresses systemic negligence regarding Black boys within life and more specifically the public education system. In time I will go further into what this body of work genuinely entails but with my residency at Stormwater I really wanted to give that exhibition its own life and room to grow and develop as a call to those whom I grew up with and those who can put themselves in my shoes; it’ll be unveiled officially at the conclusion of my residency. It really feels like my current magnum opus because I've been progressively painting my development as a man and an artist, so this body of work really feels like the next step in my career The concept of taking developmental milestones is also a prominent theme of this exhibition because it brings into question the fate of those who are stripped of those developmental milestones and how society at large may be responsible for some of these shortcomings. I relate that back to my days of adolescence and observe how those who I grew up with took a multitude of routes. Some for the better and some for the worst and although we share so many spaces, experiences, and memories we ultimately tailor our lives to what best suits our needs. Some aren't able to delineate which route best suits them and without proper guidance on the possible ways, some simply stop searching altogether. In my mind, it started off as a very bleak concept, but I've come to the conclusion that there is no true failure in life, I guess one can call it predestination, but I think everything that is meant for us ultimately falls into our grasp. The exhibition in July, My Eyes is a prequel to this next step of my narrative which is conveyed through paintings. It really chronicles my perception of the world, really the world that I’ve created inside of my mind because that's where I live most of the time. Some works tackle issues of race and class while some are pages from the notebook of my mind. It also serves as a welcome to the new residency that I have been awarded and is almost like a personal studio tour for those familiar and unfamiliar with me alike.

 

Jasper: In your artist statement, available on the Stormwater Website, you mention that the subjects of your work hold a kind of power that "does not rely on systemic pain, trauma, or past offenses." How do you accomplish this while still reflecting on the real-world struggle? Furthermore, are you aiming for your subjects to hold the complexity of living individuals? If so, what sort of technique do you use to "flesh them out"?  

Greene: For me, the easiest way to do this is by having a true understanding of the subjects I am painting and genuinely being connected to their circumstances, it almost feels like concern for their circumstance at times… I want to feel how they feel. Everything is subjective but my goal is to make it where my subjects feel as if they are seen and can identify with themselves through the work. If I am able to do that, I think that in itself conveys the nuanced experience of life these individuals are going through. Oftentimes these subtleties are achieved by actually experiencing these circumstances with the individuals I paint, which is why I enjoy using archival and personal references; sometimes I experienced these moments firsthand and it allows me to truly reflect on the feelings involved in these moments. Another way to achieve this is by simply engaging in a conversation and being able to see the subject from their perspective. I desire to create empathetic work that allows the viewer the opportunity to feel the figure and not simply what is happening to them. We all experience pain and misfortune in life but we all respond to it differently, it alters the way we see the world differently and I believe the work becomes successful when one can show discernment and capture the individual in their most vulnerable form. I think the power lies in simply being. I want my subjects in the work I create to simply be, I don't want them to be victims, martyrs, or slaves to their circumstances. I think keenly observing gives an indication to the world that my subjects are a part of, and those minute inferences can say more than simply regurgitating a pain-ridden narrative. I want my subjects to be in settings that are familiar to them, native to the world they know and within that viewers are allowed to connect their own dots as to what their conditions are. I flesh my subjects out by putting myself in their shoes and conveying them as they are not as the world wants them to be, I think that is the highest respect I could pay to anyone willing to be a part of my artistic journey. I could never compare my work to anyone else's because I believe the hand is unique but being a Southern-based artist a lot of work I’ve wanted to counteract convey Black people being slaves to circumstance as opposed to masters of their own domains despite the strife that life may be providing them at a moment. I think the pain only lasts for a moment. If my plan is to immortalize someone through my art, I want to show their strength and not trap them within a fleeting pain.

Three Fingers One Thumb (3F1T), 2022, Oil on canvas, 36 x 48 in

 

Jasper: Additionally, a lot of the way you talk about creating art in your statement makes it seem like a lot of it is a balancing act of realism and artistry. How did you manage to find the balance you landed on as an artist? 

Greene: Honestly, I just started creating the artwork that I personally wanted to see, really just filling the need that I saw within my community. Along the way of creating what I wanted to see I discovered a lot of artists who follow the same code and it's basically like I was able to develop a family tree of artists I'm working to get a branch on. That tree is really based on research and preference, the old saying goes there is nothing new under the sun and I wholeheartedly agree. I find a new artist every day who has a different perspective on topics that have been touched on all throughout time, and that’s beautiful. To me, that really boils down to two things. 1. We have so much more in common than we may give each other credit for and 2. There is always something to be learned from our predecessors. It’s so many different art styles and eras and it can be intimidating at first but I'm positive that there is a lane and a tribe for everyone looking to find community through art. I have a lot of influences and artists that I respect from a creative standpoint and my biggest takeaway that I get from them is to create what I like and those who resonate with it will. The moment I attempt to create for anyone other than myself it shows within the work. For me, I was influenced heavily by manga and high animation, and it just catches my eye in a way that pure realism doesn't so I tailor a lot of my work based on my past experiences and influences that pique my interest. That's not to say that it won’t change my direction along my artistic journey but as of now, I am extremely compelled by emotive figuration that is able to convey a story through the brushstrokes. Also, I think my beginning my career as a self-taught artist actually helped force me to develop an identity based on what I enjoy, as opposed to developing technique before finding style; I’ve always had my own style, and now I'm able to compile new techniques that amplify my style. Plus the biggest benefit of creating artwork for me is to create how I feel, that's the baseline that has helped me balance my style, being original. In my case that is conveyed through bold opaque colors and textural emphasis, but I envision my creative style and medium developing as I progress. The biggest underlying facet that I wish to maintain is creating my ways and bending the rules to fit my creative need.

 

Underneath The Veil, 2023, Oil on linen, 16 x 20 In

Greene: Honestly, I'm most excited to put my art out into the world, allowing it to exist outside my mind and studio. I know about myself, and I know I share this feeling with a lot of artists but, putting yourself out there is really the toughest part. Being able to paint, the very act of being creative is innate to me, it isn't really something I have to try hard at because it's a part of my identity without it I don’t know who I would be, but showing the work relates to a part of me that I haven't fully come into yet. It’s really surreal that this is my life, and I haven't grasped that in totality I must admit. Being able to work up the nerve to say this is me, this is what I've put my all into for the past so and so the amount of time is really an unearthing experience and at times I overthink how my perception will be received by those who witness it. So to answer the question I'm just really excited that I'm providing myself the opportunity to share a part of myself with anyone who chooses to receive it. To paint in my studio is one thing, it is my thing but I'm excited that all of the work that I have been putting in to create an experience is about to come to fruition. Being able to see supporters face to face, exchange stories with one another and really connect on a level that words simply can't convey excites me and I'm just extremely blessed that my art is giving me the opportunity to make those connections that last a lifetime.

 

For more information on Malik Greene and his work, visit his website at malik-greene.com

Amanda Ladymon Invites You to Her Y'Art Sale on July 15th!

Yard + Art Sale = Y’ART Sale

What better way to spend a Summer Saturday than perusing new art from some of Columbia’s finest local artists in the comfort of a friendly back yard?

Amanda Ladymon, whose work we haven’t seen in a while, is opening her back yard to her artist friends for a sale of both their own art and work from Amanda herself.

Amanda says, “Come out and support your local artists! We will have lots of art for sale but at Yard sale prices! Conveniently located just over the bridge, across the street from WECO. Make a day of it - get some art and then go across the street for food and drinks! Artists included: Amanda Ladymon, B.A. Hohman, Sabrina Danielle, Ashley Berendzen-Russell, and more to be announced!”

The event is Saturday, July 15th from 9 am to 4 pm and the public is invited to attend!

Call to Artists -- 701 CCA's 7th SC Biennial 2023

701 Center for Contemporary Art in Columbia, SC seeks submissions for the 701 CCA South Carolina Biennial 2023, the center’s seventh survey exhibition of work by contemporary South Carolina artists. The exhibition will be held at the center in two parts with openings in November 2023 and January 2024. The submission fee is $25.00 per artist.

Artists working in all media and styles are encouraged to apply. Artists must be current residents of South Carolina.

Deadline is August 16, 2023; 11:59 pm. SUBMIT HERE

For more information about the Biennial, CLICK HERE.

Make Music Day at the Koger Center for the Arts featuring USC School of Music, SC Philharmonic, Whiskey Tango Review and MORE!

On Wednesday, June 21, the Koger Center for the Arts will host Make Music Day, a free family friendly day of creating and listening to music. The Koger Center is presenting the day in conjunction with Rice Music House and the SC Philharmonic, as well as the City of Columbia.

From 12 to 8 p.m., every hour will bring musicians of all ages to the Vista for everyone to enjoy. Presented by the NAMM Foundation, Make Music Day is a worldwide celebration held in more than 1000 cities in 120 countries, with origins from France in 1982. The day is all about exposing communities to the power of music from all genres.

The early half of the day features an experimental “ruckus hour” where visitors can play around and make music with unconventional instruments--like boomwhackers--alongside percussive ones like steel drums. Varna International Music Academy, Rice Music House, SC Youth Philharmonic, and Rhodes Music Studio will have several students and affiliates perform recitals throughout the Koger Center lobby, stage, and Upstairs Gallery. The SC Youth Philharmonic will also host an instrument petting zoo, a perfect opportunity for aspiring musicians to learn a little bit more about different instruments.

At 4 p.m., Columbia Operatic Laboratory will perform excerpts from their production of Pirates of Penzance as well as give an announcement about their season. Afterwards, around 4:30 the duo Alexandra Fowler and Max Feltes will perform covers of hit indie songs for audiences.

The night concludes with outdoor events, starting out with a drum circle open for everyone to participate in. The circle will be led by Ashley Cobb, a graduate assistant at the University of South Carolina’s School of Music. There will be three bands afterwards performing on the plaza stage: Whiskey Tango Revue with Lauren Sherr, Martha’s Vault, and Sam & Illia. All stage performances are also free, and don’t forget your lawn chair or blanket!

Make Music Day Columbia is a yearly event that helps to make the slower summers of Columbia that much more musical. For more information on the complete lineup, visit the Koger Center website or the Make Music Day Columbia site.

Grammy-Winning American Songster DON FLEMONS at Columbia Museum of Art

From our friends at Columbia Museum of Art —

The Columbia Museum of Art presents More Than Rhythm: A Black Music Series Featuring Dom Flemons, the season two finale of the popular concert and conversation program, on Friday, June 23, from 7:00 to 9:00 p.m. The evening features The American Songster himself, Dom Flemons, GRAMMY Award winner, two-time EMMY Award nominee, and 2020 United States Artists Fellow. In the pre-show conversation, series host and ethnomusicologist Dr. Birgitta Johnson and Flemons discuss his passion for storytelling through old-time music, his experiences with the award-winning Carolina Chocolate Drops, and his current projects that champion the Black contributions to American folk music.
 
“For two years, the More Than Rhythm train has passed through a myriad of genres and celebrated the indelible impact of Black artists and musicians on the rich fabric of American music,” says Dr. Johnson. “From sacred music to the blues, soul to hip-hop, classical to jazz, we have experienced some of today’s most innovative and genre-expanding artists from around the country. For our season finale event at the CMA, we are pulling into our final stop and digging into the ebony roots of American folk music with The American Songster, Dom Flemons.” 
 
Flemons is a songwriter, multi-instrumentalist, producer, actor, music scholar, historian, record collector, and the creator, host, and producer of American Songster Radio Show on 650 AM WSM in Nashville, Tennessee. He is considered an expert player on the banjo, guitar, harmonica, jug, percussion, quills, fife, and rhythm bones. Co-founder of the beloved Carolina Chocolate Drops, Flemons left the group in 2014 to pursue his solo career.
 
In 2018, Flemons released a solo album titled Dom Flemons Presents Black Cowboys on Smithsonian Folkways and received a nomination for “Best Folk Album” at the 61st GRAMMY Awards. This record is part of the African American Legacy Recordings series, co-produced with the Smithsonian National Museum of African American History and Culture in Washington, D.C. In 2020, Flemons was selected for the prestigious United States Artists Fellowship Award for the Traditional Arts category, which was generously supported by The Andrew W. Mellon Foundation. Available now, Traveling Wildfire is Flemons’ first new album since Black Cowboys and second for Smithsonian Folkways. In it he turns to an important, overlooked voice that he's proudly rediscovered: his own. Flemons is on tour this year traveling across the country.

“Be it string band, old-time music or Piedmont blues, Flemons is a GRAMMY winning multi-instrumentalist and storyteller who has been a part of amplifying the often-erased contributions of African Americans to American roots music styles,” says Dr. Johnson. “As a founding member of the acclaimed Carolina Chocolate Drops and as a solo artist and board member of the Music Maker Relief Foundation, Dom is a leader in connecting people — young and old — to Black folk music pioneers in the blues and country music. His recent album Black Cowboys illuminates another hidden gem in American music and folklore — the songs and stories of the original cowboys of America’s westward expansion. Our season finale show with Dom will also be a time to thank our More Than Rhythm audience regulars who have helped the series grow and make a powerful mark in Columbia’s thriving art and music scene for the last two years.” 
 
Series host Birgitta J. Johnson, Ph.D, is a jointly appointed associate professor of ethnomusicology in the School of Music and African American Studies Program at the University of South Carolina. Her research interests include music in African American churches, musical change and identity in Black popular music, and community archiving. She has published articles in the Black Music Research Journal, Ethnomusicology Forum, Liturgy, Oxford Bibliographies in African American Studies, and the Grove Dictionary of American Music.
 
Dr. Johnson’s recent publications include a chapter about 21st-century gospel archiving in The Oxford Handbook of Musical Repatriation, a chapter about gospel remixes of Beyoncé songs in Beyoncé in the World: Making Meaning with Queen Bey in Troubled Times, and sacred themes in the music of Outkast in An OutKast Reader: Essays on Race, Gender, and the Postmodern South. She has been quoted or featured in media and news outlets such as Rolling Stone Magazine, NPR, Vox, Public Radio International, and South Carolina ETV. 
 
A multi-instrumentalist and singer, Dr. Johnson has performed professionally and/or recorded with artists and ensembles from a variety of genres including the Southeast Symphony Orchestra of Metropolitan Los Angeles, the Gospel Music Workshop of America, Francisco Aguabella’s AfroCuban Folkloric Group, and the ESPY Awards with Justin Timberlake, The O’Jays, Yolanda Adams, Talib Kweli, and BeBe Winans. At USC she teaches courses on world music, hip-hop, the blues, African music, Black sacred music, Beyoncé, and the history of ethnomusicology.
 
More Than Rhythm: A Black Music Series Featuring Dom Flemons
Friday, June 23 | 7:00 – 9:00 p.m.
Conversation at 7:00 p.m. | Concert at 8:00 p.m.
Galleries and bar open at 6:00 p.m.
Free admission

 
Presented by the Baker & Baker Foundation. This program has been made possible in part by the National Endowment for the Humanities: Democracy demands wisdom. This program is supported by a Connected Communities grant from Central Carolina Community Foundation.

NiA Celebrates 25th Anniversary with Lonetta Thompson's Play Jump at the Sun

The NiA Company will celebrate its 25th anniversary in conjunction with Family Fun Night at the Columbia Museum of Art on Friday, May 26, beginning at 5:00.  There will be DJ sets from DJ B Folks, arts activities, design challenges, scavenger hunts, and food and drink available for purchase.  At 6:00, NiA will reprise Lonetta Thompson’s family-friendly play “Jump at the Sun,” which it first performed ten years ago.  The play explores the historical events of the Great Migration and the Harlem Renaissance along with key artistic figures like legends Zora Neale Hurston and Jacob Lawrence.

Lonetta’s play “Therapy” is next in line for the Jasper Project’s Play Right Series.  Through July, she, her cast and an audience of Community Producers will meet to discuss the creation, development and marketing of a play, culminating in a public staged reading at the CMFA on August 6

Jasper sat down with Lonetta and NiA founding artistic director Darion McCloud for a quick Q and A:

Lonetta Thompson

JASPER:How did you get involved with JUMP AT THE SUN?  I realize you’re the author, of course, but what led you and NIA together for this project?

THOMPSON: If memory serves, NiA had the opportunity to perform during the time Jacob Lawrence's The Migration Series was on exhibit at the museum and Darion graciously allowed me write something (since I was running around calling myself a writer all the time).  

JASPER: Is this play connected to Alicia Williams children’s book?    Or does it come straight from Zora? 

THOMPSON: I wrote this over ten years ago, and I Alicia Williams' book was published in 2021. I was researching the artists from the Harlem Renaissance and came across a quote from Zora Neale Hurston where her mom used to always tell her to "jump at de sun" and thought that was the perfect title.  (The full quotation is: “Jump at the sun. You might not land on the sun, but at least you’ll get off the ground.”)

 

JASPER: What do you hope is the principal message an audience member might come away from the play with?  What do you want them to know or do or feel?

THOMPSON: First and foremost, I just want people to know these wonderful artists (a lot of whom came from the south) and how they came together and created magic. They were so gifted and talented and passionate and that community they created is still at the top of my list of times and places I would go if I had a time machine.  Beyond just exposing our audience to these artists, I want people to be inspired by all forms of art and the impact it has on our lives whether we realize it or not. 

 

JASPER: Your career as a playwright is suddenly getting a lot of sunlight, what with THERAPY going into development this summer by the Jasper Project.  How does this chapter of your life feel to you as a creative person?  And are there more developments afoot we should know about?

THOMPSON: I am definitely in awe of my reality right now! I've always fancied myself a writer but was hesitant to put myself out there. I was lucky to find a satisfying creative outlet by being on stage. I do have a few things I'm working on and just plan to continue to develop my voice (and confidence!). 

 

DARION McCLOUD

JASPER: What occasioned NIA’s performing this play ten years ago?  And why is now the right time to remount it?

MCCLOUD: I think it was more than ten years even but we’ll go with that. At that time I had a day gig as the Outreach Manager with CMA. And the Jacob Lawrence (one of my artistic heroes) Migration Series was on exhibit.  So I approached Lonetta with the idea of creating a piece about The Harlem Renaissance with Lawrence’s Migration Series at the center   

 

JASPER: Is NiA involved in/at the heart of the other activities going on at the CMA on the 26th?  Or is this a consortium of many other good organizations?

MCCLOUD: NiA is one of the museum’s offerings on that day including creation stations and of course access to the permanent collection.

 

JASPER: Now that COVID is lifting maybe, what can we look forward to next from NiA?  What changes will see from the pre-COVID NiA?  Perhaps a better way to put that: it’s been 25 years for NiA: how have you grown?  What have you learned?  Where are you going? 

MCCLOUD: After twenty-five years we grown exponentially. We first came together to give black actors opportunities. Now that mission has expanded with opportunities as the engine. That means opportunities for all kinds of actors, for audiences that don’t always get the type of work we present or can’t afford it. This idea of providing opportunities for those with little still drives us.

JASPER: You, personally, could rest on your many many laurels.  Why don’t you?   What motivates you?  This question never expires.  Your answer may change as time goes by, and if it doesn’t it needs repeating.

MCCLOUD: First, thanks for the kind words. But there is so much need. I still believe “art makes everything better” and the world is always in need of better experiences. We hope to contribute to making better fathers, better mothers, better leaders, better followers.. Yeah, all through the shared experiences of theatre…of Art.  

 

 

Dr. Baker Rogers Opens South Carolina’s Only Queer Independent Bookstore

Cola book lovers are still buzzing with excitement from the opening of All Good Books, and soon there will be an additional space to explore that offers not just a unique literary environment, but a safe space curated with queer people in mind: Queer Haven Books. 

Baker Rogers, MSW, PhD has recently founded what is presently South Carolina’s only queer independent bookstore. The store just opened online, and Rogers is fundraising to get a brick-and-mortar location on Main Street. 

As a queer person themselves—and with a masters in social work, a doctorate in sociology, and a position as Director of Arts in Social Science at Georgia South University—Rogers is deeply familiar with the experiences of LGBTQIA+ individuals and how various histories and situations impact them.  

When Rogers lived in South Carolina previously, they knew there needed to be a safe space for queer people—a place where their community could be seen and see each other. Their first dream was to open a gay bar, but as they grew older, left South Carolina, and came back, Rogers realized what the city truly needed. 

In Rogers’ time in academia, they have published a plethora of work in gender and sexuality in the US South with titles under their belt such as Conditionally Accepted: Christians’ Perspectives on Sexuality and Gay and Lesbian Civil Rights and King of Hearts: Drag Kings in the American South. With their work in literary texts, Rogers’ vision for Columbia crystallized: we needed a bookstore

For them, a queer bookstore is the perfect intersection of education and community. Beyond having stock rife with queer texts—which is thus a space where queerness is the norm—Rogers plans to host a plethora of events, such as queer book club, queer-centered recovery groups, and classes on sex positivity.

 As they work on this goal, they are continuing to expand their selection. Every book currently stocked in their online store is written by and/or either portrays the narrative of a queer individual or in some way addresses the experience of being queer. Queer Haven has sections for nonfiction, local authors, and children’s literature. They also sell a handful of gifts, such as keychains and cards.  

Presently, Rogers is running the store out of their home—getting books from online bulk retailers and distributors and storing them in their house. Fortunately, the investment is already showing promise: Rogers shares that they have already begun to sell books online and at some of the events the bookstore has been present at, like NoMa Flea. 

Unfortunately, Rogers and Queer Haven have received their share of pushback and negative feedback—particularly on social media and Facebook. However, Rogers is undeterred and asserts that this is only more proof that this space is necessary. The majority of feedback, though, has been positive, and Rogers intimates that they have received a good amount of support from locals. 

Rogers has already met with All Good Books, and they are working in tandem with each other. All Good Books has a queer section in their store and can offer Queer Haven as a path for patrons interested in diving into those texts even deeper, while Queer Haven can direct patrons to All Good Books for various reading needs. 

For the bookstore to take off and really begin supplying the area with queer space and queer literature, though, they need a physical place, and for that, they need financial support. Rogers has started a Kickstarter that ends on June 8. If they can raise $50,000 by then, the bookstore should open physically by the end of 2023. 

If you can’t donate but want to support, you can browse their website, which houses their current stock and holds an Event Calendar with all upcoming places you can find them. They are also currently hosting a Logo Content for any interested artists.

Rogers named this place a haven because that’s what it will be. It will be a safe space, set apart from the harmful spaces queer individuals have to navigate in their daily life, especially in the South. Among current harmful political climates, it will serve as a refuge but also as an informative, educational space for both LGBTQIA+ individuals and allies. 

As Rogers emphasizes, “This is a place Columbia needs, now more than ever, to provide education on the queer experience and to give queer people in South Carolina a place to go.”