Poetry of the People featuring Michal Rubin

My fourth Poet of the People is Michal Rubin. What attracts me to Michal's poetry is the unadorned integrity, honesty, and humanity of her voice.

Michal Rubin moved from Israel to Columbia, SC 32 years ago.  A psychotherapist, a Cantor, and an emerging poet, her work was published in Psychotic Education,  The Art and Science of Psychotherapy, Wrath Bearing Tree journal,  Rise Up Journal, Topical Poetry,  Fall-Lines,  The Last Stanza Poetry Journal, Waxing & Waning: A Literary Journal, and South Carolina Bards Poetry Anthology 2023.

In a secret dark spectacle

after Ada limon

I saw the twirling gust of dust

moving into the distant

world of pain I remember

and I flew there to be

with kin I have not met

come! they said

and I sat in their midst

huddled underneath their wings

they fluttered, the wings,

and the chill of history penetrated

my sheltered space

I breathed it in 

the chill

and the chains weighty

on my wrists

as I was dragged by the power 

of the dead

into the land


~~~~~

In Gaza

tomorrow’s touch

through the settling dust

will remind you of

love

unhidden in the rubble

behind the corner

forbidden moment

fused with desert breeze

salted droplets we carried

home

or what was home

~~~~~

Exploits

I write with no address

or neighborhood

letters that belong to

the smoke of burnt homes

or piles of old shoes

I try to stitch words 

so they become 

an embroidery of unwanted

stories

we live them

the stories

we spit them as hulls  

discarded shells of seeds

we feasted

I, the betrayer of dogmas spread

stained uniforms strewn on the page

I, the jailed soldier

braid sins into the chain of letters

words bathe in shame

each bullet finds a target

smoke of burnt homes fills the nostrils 

I, the one who left,

weave what you call art

with the exploits

remnants of our crimes

 


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.

Mark Your Calendars for Jasper Board Member - Elect Keith Tolen's Aiken Exhibition and Artist Talk

Mark Your Calendars!

Columbia based artist and Jasper Project board of directors member-elect, Keith Tolen, brings a wealth of experience to this upcoming exhibition in which he experiments with using dots as the dominate paint stroke technique in CONVERSATIONS WITH THE DOT.

Along with his professional art career in the areas of illustration, photography and painting, teaching art has always been and continues to be a major part of his life. He has taught art for after school and gifted and talented programs and has been a teaching artist for South Carolina Arts Access, which works to provide arts experiences for the unique and special needs community, for almost 20 years

Join us for an Artist Talk with Keith Tolen Tuesday, October 17 at 6pm in the main gallery at Aiken Center for the Arts

UNBOUND Dance Company Presents UNBEING This Weekend

Unbound Dance Company, under the artistic direction of Caroline Lewis Jones, will present UNBEING its third annual show on Friday, August 25 and Saturday, August 26.at 7 PM. at Dreher High School, 3319 Millwood Avenue, Columbia, SC

 

UNBEING explores the process of stripping away the layers of our past to confront the raw truth of who we are--and furthermore, who we want to be. The show features narration by Columbia theater artist Jocelyn Sanders, and was written by Joanna Lewis Derrick, writer and sister of Caroline Lewis-Jones, who directs Unbound Dance Company along with Morgan Holton.

“On the heels of two successful shows, we’d like to thank our dancers, sponsors and patrons. We could not do this -- what we love -- without the support from our community,” says Lewis-Jones. “As Columbia’s art scene continues to grow, we remain steadfast in our mission to educate and inspire dancers of all ages. We are excited to collaborate with artists, creatives, and individuals of all kinds to continue producing thought-provoking work, and striving to connect within our community.” 

Tickets are $50 for Priority Reserved Seating or $35 General Admission and can be purchased at www.unbounddance.com.

Poetry of the People with Al Black featuring Tony Pichof

Because I’ve planted a seed
That sparked a thought
And made them think

I chose Tony Pichof as my next Poet of the People for his earnestness and gentle unfrilly lyric quality. He represents the everyperson in each of us.

Al Black

Poet, Tony Pichoff (pee-shawf) retired from the Army in 2006 and has been working as a civil servant since.  He has been writing since his junior year in high school when his English teacher, Mrs. Magoo (yes, really!) accused him of plagiarism.  He has been awarded and recognized in several contests over the years and has self-published twelve collections* under the pen name, Tony Garrison (to honor his stepfather).  He is an active adult scouting leader.  He enjoys spending time with his family and working on his hobby farm.

The Best I Can 

Strangers on the street
Often ask me,
“How’re you doing?”
As they are passing,
Out of some unwritten
Rule of courtesy,
Not expecting an answer
When they acknowledge me.
“The best I can”
Is my standard reply.
Then I see them smile
As I walk by
Because I’ve planted a seed
That sparked a thought
And made them think
Just how they ought-
That everything
Will be okay
If we all do our best
Every single day.
And who knows,
I may just start a new trend
As everything, somewhere,
Sometime begins.
I sure hope it catches on
And becomes part of the plan.
But even if it doesn’t…
I’ll just keep on doin’ the best that I can.

~~~

Sick to My Soul 

We’ve all been there
In those moments we’d rather not be
When in the throes of illness
We feel helpless in our vulnerability
As nausea washes over us
And we know what’s coming next
When waves of sick crash into us
And leave us feeling the opposite of blessed.
Now, take that awfulness of being
And multiply it a hundredfold.
For only then will you be believing
How it feels to be sick to my soul,
With the difference being
There is no release to let it go
And it just keeps on festering
Way down deep within.
This smoldering betrayal
Is such a scorching sin
When I can no longer trust
Someone I once called, Friend. 


Jasper Tiny Gallery Artist Benji Hicks Profile: From a Singular Idea to Animals with Stories

Benji Hicks’s whimsical, personality-filled animals have been playing on Jasper’s Tiny Gallery site since the beginning of August. Keep reading to learn more about Hicks and how he makes his art! 

Hicks has considered Columbia his home since birth­—over 50 years now—having resided in West Columbia, specifically, since 1973. He is a completely self-taught artist, woodcarver, and woodblock print maker, though he can recall the act of creating being valuable to him from an extremely young age. 

“For as long as I can remember, I have always been an artist. Drawing with pencils and pens, and later, painting with watercolor” Hicks says. “Growing up, I got to spend many hours in my dad’s woodworking shop, learning to use tools and make things. This is when I found a love for wood carving.” 

Hicks’s professional work as a carpenter compounded with his self-driven exploration of art, ultimately leading to a new relationship with woodblock printmaking—and to handmaking unique frames for each individual print. 

A Japanese woodblock printmaking technique called Mokuhanga is what caught Hicks’s attention: “Mokuhanga can best be described as a multi woodblock printing technique where there is a keyblock (black outline) and a separate color block carved for each color in the print. My prints are made with anywhere from 2 blocks to as many as 21 blocks per print…since every print is handmade and shows subtle differences, each one is considered an original piece of art.”  

Mokuhanga is similar to other printmaking techniques in that the artist carves into solid surface before adding a colored medium and pressing some form of paper onto the surface before pulling it off to reveal a design. Since embarking on this journey, Hicks has also experimented with adjacent forms of printmaking as he becomes more comfortable with his personal style. 

When it comes to what Hicks likes to make, he is “always drawn to funny little characters and…animals doing human things,” he says. “With animals, it doesn’t matter what age they are. They can be young or old and wise, and still get away with being playful and silly or just out to have fun. I tend to let nature take its course and inspire me in my art,” Hicks says. “If you see a character show up in my artwork, then you can believe that I had an encounter with that sort of creature in nature, a dream or maybe even a song brought them to mind. Each idea is a seed. Once planted, it grows into a new series.”  

These series may emerge from a single seed, but it is just that—an idea. Hicks does not have a firm idea of how exactly an idea will emerge into its final physical form; he prefers to let the characters and their stories bloom organically. 

“If it makes me smile or even giggle a little, then I know I’m on to something. As I create one, I see the next,” Hicks says. “They lead one to another until the end of that path. Some paths are longer than others.”  

This Tiny Gallery show is a mix of old and new from Hicks—all coming together to tell a new story. A “woodsy theme” ties this collection together, with “Bear Loves Honey” being one of his favorites. 

“I was trying to make each print bring a smile and also evoke the imagining of the before and after. I try to capture the moment just before or just as the main event happens,” Hicks says. “You can imagine if there were more panels like a comic book, you would see the bear getting ready for a hike and packing his backpack to go look for honey. Afterwards, he would be happy with his found stash of honey. I tried to capture the moment he sees the bee and feels the anticipation of finding honey.”  

Hicks hopes that when people view the pieces, they “will recognize these moments and use their own imagination to fill in the before and after.” 

For more on Mokuhanga and the art of Benji Hicks’s, check out the fall 2023 print issue of Jasper Magazine, releasing October 2023 — details on release party are coming soon. In the mean time, Hicks’ Tiny Gallery show will be up until August 31st at Jasper’s virtual gallery site

After the show, you can see his work on his Facebook, at the Cayce Arts Guild, the South Carolina Artists Group, and the Meeting Street Artisan Market.

 

 

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.”

Incidental poetry -- Kryptonite the Color of Money by Al Black

Kryptonite the Color of Money

by Al Black

 

What if Superman was just strong

Not super humble and brainy?

 

What if he became a bully, drunk with power

And believed he was ordained to rule?

 

What if he became a politician, a spy for Putin,

A money launderer for Russian oligarchs?

 

What if he didn’t have a cute black curl on his forehead

And wore a dead orange squirrel for a toupee?

 

What if he date raped Lois Lane

and forced himself on women, again and again and again?

 

What if he didn’t believe Truth

Justice and the American Way applied to him?

 

What if despite all this, folks still bought his comic books

And believed he was ordained to rule?

(Al Black, 08/12/23)



Poetry of the People with Al Black featuring Kelley Lannigan

Where is the map when we get lost inside ourselves? — Kelley Lannigan

I chose poet, Kelley Lannigan, as this week's Poet of the People because of the wonderful narrative flow of her poetry.

Kelley Lannigan grew up in rural Richland County and studied art and journalism at Columbia College. She spent her life curating art (most recently the Georgia O'Keefe Anniversary Exhibition at Columbia College) and as an editor and journalist for magazines and newspapers. She is retired and lives in Winnsboro with her cats writing poetry, painting, and taking on an occasional writing project.

 

Aubade

 The sun raises the red coin of its face.

            Morning, in her gown of light

                        dances among the trees.

 

A Cooper’s Hawk, the one we hear

            but rarely see, screams reveille.

                        Awake! Awake! Awake!

 

It rained so hard last night.

            Nipper Creek, dry for months,

                        runs like a marathon.

 

Trucks haul gravel from the quarry. Gears shift,

            grind, strain up the road’s steep slope.

                        Sometimes a SLAM! A BANG!

 

Soon, blasting will shake the ground.

            Trucks pass, their angry music fades.

                        Silence deepens like a dream.

 

Tops of pines, slow green brooms, sweep the sky.

            Old cat snoozes on the rough steps.

                        She chases something in her sleep.

 

She woke me earlier, pawed my chest in the dark,

reminded me that for now,

                        I am not alone.

 

  

Terra Incognita

(In memory of Steve, lost to dementia) 

 

He was the kind of man we were glad to see.

 

The kind who leaned over the fence to talk about his goats,

his chickens. A farmer, adding his link to the long chain

of Huguenots who husbanded the land. Their sturdy houses

still stand sentinel over the Santee, the Pee Dee, the French Broad.

 

A family man. Husband, lover, father, teacher.

A worldly man. Soldier, navigator, pilot.

A hunter who knew what passed by its scat,

a mark on a tree, tracks in the snow.

 

The kind of man we called at 3 a.m.

about strange noise by the barns.

His bobbing lantern across the dark fields

made us feel safe.

 

Snow melts. Tracks erode. Terrain shifts.

Where is the map when we get lost inside ourselves?

 

He was a man who disappeared before our eyes.

Forgot our faces, his children’s names.

Left the water running. Could not remember

his phone number. How to use the phone.

What a phone was for. Forgot to eat.

Lay in bed until told to get up.

Replied “yes” to every question.

Missed the turn to his farm, piloted his old Chevy

into the next county. Then across the next.

 

Or simply sat for hours behind the wheel going nowhere.



Kelley Lannigan will be our poetry feature this Wednesday, 08/16 - 7 pm for Mind Gravy Poetry at Cool Beans, 1217 College Street, Columbia 

 

 

 

 

701 CCA CALL to ARTISTS Biennial 2023 - Jurors Announced

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

Exhibition Dates:

Biennial Part I- November 17 – December 30, 2023

Biennial Part II- January 12 – February 25, 2024

Selection Process:

A panel of three jurors representing local, regional, and national perspectives will review submitted materials and select artists for the exhibition. A 701 CCA curatorial team will select works for the exhibition from submitted images and when needed, through studio visits. 

Submission Materials

Submissions for the 701 CCA South Carolina Biennial 2023 should be made via Submittable (link below) and include the following:

  • Ten images of work produced in the last two years that are representative of what will be available for inclusion in the Biennial. 

    • Images should be in a jpeg format with a minimum size of 1024 wide x 768 high ppi (pixels per inch) at 300 dpi resolution. 

    • File names should be numbered 1 through 10 followed by the artist’s last name and title of the work.

      • Example: 2_Smith_Good Morning.jpg

  • List of Images: Create a list of your images with the following information: (PDF, MSWord Accepted)

    • File name, year, medium, and dimensions (H x W for 2-D; H x W x D for 3-D). 

  • Brief Statement: Create a statement, not to exceed 200 words, about your work and how it addresses your intent. (PDF, MSWord Accepted)

    • Example: “I use recycled materials to address my concerns with climate change.”

  • Resume/CV and/or biographical sketch, no more than 300 words, that includes the artist’s birth date, place of birth, and where they grew up. (PDF, MSWord Accepted)

*Artists need to make sure that they have work available for the exhibitions that reflects the art in their submission.

Fees:

The submission fee is $25.00 per artist. Your payment can be made through Submittable or checks can be made payable to 701 CCA.

Submission Deadline:

All materials should be submitted by Wednesday, August 16, 2023, by 11:59 p.m.

Notification:

Artists will be notified of the results of the selection process by Wednesday, August 30, 2023.

Timeline:

  • Submission Deadline: August 16, 2023, 11:59 p.m.

  • Jury Panel Meets: Between August 20–23, 2023

  • Notification of Selections: August 30, 2023

  • Artists’ Notifications to 701 CCA of Unavailable Work: September 3, 2023

  • Notification of artists’ selection for Part I or Part II: September 15, 2021

  • Delivery work for Part I: November 8-10, 2023

  • Part I opens: November 17, 2023

  • Artists’ Reception Part I: TBD

  • Part I Closes: December 30, 2023

  • Pick-up Work Part I: January 3-5, 2024

  • Deliver Work for Part II: January 3-5, 2024

  • Part II opens: January 12, 2024

  • Artists’ Reception Part II: TBD

  • Part II Closes: February 25, 2024

  • Pick-up Work Part II: February 28-March 1, 2024

*Please submit further inquiries to director@701cca.org or call Caitlin Bright, Executive Director at 803.319.9949.


Introducing the Jurors for the Seventh Edition of the SC Biennial, produced and hosted by 701 Center for Contemporary Art

701 CCA is thrilled to announce that the 2023 SC Biennial will be juried by Lauren Jackson Harris, Bob Monk, and Aaron Levi Garvey. The gallery is currently seeking submissions for its seventh survey exhibition of works by contemporary South Carolina Artists. This year, 701 CCA has the honor of presenting submissions for review by some of the nation's leading figures in contemporary art. 


Lauren Jackson Harris is an independent curator, fine art management professional, and project manager from Atlanta, GA. She earned her BFA in Graphic Design and Art History from Howard University and her MA in Creative Leadership from SCAD. In 2019, she co-founded Black Women in Visual Art, an organization that connects, cultivates, and serves Black women arts professionals. With BWVA, Harris builds partnerships and develops programs that create further visibility and opportunity for Black women in art. As an independent arts worker over the last ten years, Harris has curated exhibitions and art experiences with organizations and art spaces such as For Freedoms, Facebook, MINT Gallery, Day & Night Gallery, The Gathering Spot, Stay Home Gallery, Living Walls, Atlanta Contemporary Art Center and more. Harris also serves as the Co-Chair for the Beltline Public Art Advisory Council, as a Board member for Tessera Arts Collective, and is an active fine art advocate consulting with artists on their practice and career-based opportunities.


Bob Monk is the director of Gagosian Gallery NYC + LA. Serving in this position for over 30 years, Mr. Monk has curated countless exhibitions, and has worked closely with Ed Ruscha and Richard Artschwager. He has curated numerous exhibitions, including the 2005 American Pavilion for the Venice Biennale. He worked at Leo Castelli Gallery in New York (1974–84) and then founded Lorence Monk Gallery in 1986 featuring the works of Richard Artschwager, David Hockney, Jasper Johns, Bruce Nauman, and Barnett Newman. He is currently working on ED RUSCHA / NOW THEN, a retrospective of the artist's works on view at Gagosian Gallery September 10th, 2023. 
 

Aaron Levi Garvey is a Jewish-American Curator/Historian working and lecturing in Modern and Contemporary Arts and Culture. Currently, Garvey is the Chief Curator of the Andy Warhol Museum. Recent exhibitions include: The Hudson Eye a 10-day and 14-venue arts focused program in Hudson, New York, Arc of Life/Ark of Bones by Walter Hood and Migratory Roots by Kevin Brisco at the Jule Collins Smith Museum of Fine Art at Auburn University, Flashing the Leather and The Drowned group exhibitions at Alabama Contemporary, Chiharu Shiota’s site-specific installation “Infinity Lines” at the SCAD Museum of Art, Sheida Soleimani “Oppress(er)(ed)” with Long Road Projects, “Ephemera Obscura” at the Contemporary Art Center of New Orleans and Manon Bellet's "MEMO" and Shikeith’s “notes towards becoming a spill” both at Atlanta Contemporary. Additionally Garvey curated "We Are What You Eat" the inaugural art exhibition at the United Nations headquarters in New York City in 2016 and co-curated the Atlanta Biennial (ATLBNL): Recent Correspondence at the Atlanta Contemporary in August 2016.


The application portal is open until August 16th and can be reached by following the link: >>

Submit Here

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


A Small Part of the Change – An Interview with Columbia Operatic Laboratory

By Emily Moffitt

Pictured from left to right COLab members, Christopher Lopez-Moore, Jennifer Mitchell, Jerryana Birch-Bibiloni, Joseph Birch, and Bradley Fuller

July welcomed a new Artist in Residence at the Richland Library—or rather, 5 of them! Columbia Operatic Laboratory (COLab) is a 501(c)(3) organization that started in 2015, initially created as a project through Spark, a music leadership initiative at the University of South Carolina’s School of Music. The group will serve as Artist-in-Residence at the Library from July to December; this is the group’s first artist residency. We spoke to board members Joseph Birch, Jerryana Birch-Bibiloni and Jennifer Mitchell about their goals for the rest of the year, what they will offer and life at the library.

The first couple weeks were dedicated to getting acclimated to life at the library, but COLab immediately felt welcome among the staff. The board noted that many of the librarians held an appreciation for opera. “It is encouraging to know that there’s already a love for the art form held here,” Birch-Bibiloni said. “We really want to connect with the other departments here and have a lot of big ideas on how to achieve that.” Their rehearsals make the guests walking around the second level stop in their tracks and tilt their head towards their meeting room, and strangers stop by their office hours to ask questions about their passion for opera. The board has taken this as an extremely good omen, giving them the platform to prove that opera is in fact, the complete opposite of a boring art form.

As part of the expectations for Artists in Residence, the group has created a curriculum of free workshops that caters to all the age groups that the library aims to work with. Mitchell will host a prop making workshop in the children’s area where kids will get to create their own props inspired by The Pirates of Penzance, which they will get to take home with them. For both younger audiences and parents, Mitchell states that she is extremely excited about their group story time event in November. “We’re hosting an aria and story time event where we read stories to young kids and listen to arias that correlate with the content of the story,” Mitchell said. “This provides early exposure to the world of opera for the young audiences while also helping defeat the stigma around the genre for adults, too.” COLab continues to look for more vocalists to support and welcome to their family, and they have an open audition day as part of their library schedule on August 28. “We always want to make sure that we have a safe and welcoming space for all of our performers,” Birch-Bibiloni said. “We hope that this invitation to audition expands our reach to audiences we do not always connect to as well.”

The desire to disperse the stigmas surrounding opera and to foster support for the library motivates COLab to make the absolute most of their residency. Mitchell has made note of the immense number of “statement questions” they have received and takes the opportunity to reiterate that all one needs to get into opera or to learn how to sing, is to simply want to learn. “We get a lot of questions asking about how we got into the field, and people are always surprised to hear just how much work is involved with opera outside of just singing and performing. Singing is not just a skill that someone is born with; if you want to be able to sing, you can absolutely learn how to do it!” The drive that the COLab board harbors to help develop the cultural landscape of Columbia is palpable; Birch made a poignant point about COLab in relation to the greater city limits: “COLab is a very communal project and mission for a misunderstood art form. We’re a small part of the change it always goes through and sharing it through a direct line of communication to the cultural scene of Columbia is meaningful. It is also an opportunity to marry the missions of both us and the Richland Library, which we have always been big supporters of as a system.” There are many moving parts behind an opera and putting one together. COLab has managed this challenge with aplomb as they continue to perform at venues of all kinds around Columbia, from churches to local dive bars, with the same effervescence and care. Their end-of-year performance of The Pirates of Penzance is a big production of theirs that the board decided to bring back, and it also functions as a sing-along for the audience to participate in. The production has always focused on community, but with their library residency in full swing, the board is able to make it even more community oriented from the beginning, incorporating rehearsals and opportunities to learn the lyrics into their outreach curriculum. COLab is filled with hard workers and catalysts for cultural change, and it’s a beautiful thing to witness.

The full schedule of COLab’s educational events can be found on their Facebook page as well as the Richland Library’s calendar of events. Their next event is an informational session where audiences can learn more about COLab’s mission on August 24, from 6-7 p.m. They will also have a percent day at Sweetwater’s Coffee and Tea on Park Street on August 25. There is a plethora of educational resources available on behalf of the Richland Library and COLab about the art of opera for any interested audiences, including a “summer reading list” of books related to the field available for checking out.

Jenifer Bartell's Traveling Mercy -- Launching this Fall, Preorder NOW!

“A Jennifer Bartell poem unwinds like “a Black tea-stained river water… on its way to the Atlantic.” A Jennifer Bartell poem houses the bucolic gospel of a Bluefield griot and the abstract blues of our present world. Lucille Clifton appears with tiny packages of light. A stone grows gills and lives  at the bottom of a woman-built lake. You find the poet in the mouth of the fish. Jennifer Bartell makes fabulous poems. Traveling Mercy is a fabulous debut.” –Terrance Hayes, MacArthur Genius and author of American Sonnets for my Past & Future Assassin

“Bartell’s Traveling Mercy is such an intimate history of a Black girl raised by Black women, raised by church fans and magnolia memories, dream-hymns of Black people pushing through mud and disease and held together by traditions. This rich collection of poems, by a Black girl who knows how and why to style okra seeds in her hair, spills with fat oysters and a community’s petrified pounded grace. Bartell assures she will never give us one chance to hold our breath, as we jump into this never-ending deep end of blazing life, therefore, prepare to be drenched.” –Nikky Finney, National Book Award Winner and author of Head Off & Split


Jennifer Bartell Boykin is the Poet Laureate of the City of Columbia. She teaches at Spring Valley High School, where she was named the 2019-2020 Teacher of the Year. She was born and raised in Bluefield, a community of Johnsonville, SC. She received the MFA in Poetry from the University of South Carolina. Her debut book of poetry, Traveling Mercy, will be released in November 2023 under the name Jennifer Bartell. Her poetry has been published in Obsidian, Callaloo, pluck!, As/Us, The Raleigh Review, kinfolks: a journal of black expression, Jasper Magazine, the museum americana, Scalawag, and Kakalak, among others. An alumna of Agnes Scott College, Jennifer has fellowships from Callaloo and The Watering Hole. She is pursuing a Master of Library and Information Science at USC to become a school librarian. You can reach her online at www.jenniferbartellpoet.com.

Traveling Mercy navigates the journeys of a Black woman from rural South Carolina. Her travels transcend time as she encounters history, nature, and grief. She sits with the eldest residents before her birth, with the first ancestor who came to these shores, with her parents through their marriage, and through her own loneliness in the wake of their deaths. Planting as she harvests, this book is a lament and a love story to survival. 

Pre-order Traveling Mercy for $20.99 (USD)

This is an advanced sales price that will increase after its release

Traveling Mercy will be released on November 17, 2023. The pre-order sale price is guaranteed through September 15, 2023. Reserve your copy today!


COLUMBIA REPERTORY DANCE COMPANY PRESENTS “IN OUR TIME” FOR TWO EVENINGS AT CMFA ARTSPACE

Professional dance company from Columbia, SC presents fourth annual concert on August 18th and 19th, 2023


The Columbia Repertory Dance Company will present a full evening of dance for two nights at the CMFA Artspace, 914 Pulaski Street, August 18th and 19th, 2023 at 8 pm.

IN OUR TIME explores the stages of life and addresses the human capacity for vulnerability, strength, and growth.

With IN OUR TIME, Columbia Repertory Dance Company presents their fourth annual summer concert and second as a nonprofit organization. Featuring South Carolina choreographers Angela Gallo, Erin Bailey, Dale Lam, Kiyomi Mercadante Ramirez, Jennifer Deckert and Andre Megerdichian, and Stephanie Wilkins, the organization will mount an evening of versatile and exhilarating entertainment that demonstrates the depth and range of talent in dance in Columbia, and follows their mission statement in helping to both employ SC dance artists and ultimately provide dance opportunities that will allow exceptionally skilled professional dancers the opportunity to call Columbia, SC their year-round home.

The company will present works that portray the unique perspective of each choreographer. By collaborating with local artists and organizations and blending the highly physical with the highly emotional, Columbia Repertory Dance Company aims to create an experience that draws people in and encourages them to make dance a regular part of their arts consumption.

Pictured front - Bonnie Boiter-Jolley, co-founder & managing director, formerly of Spectrum Dance Theatre (Seattle) and principal dancer with Columbia City Ballet

Left to right - Megan Saylors - who has danced with Joel Hall and Dancers and Innervation Dance Cooperative in Chicago

Olivia Timmerman - apprentice - currently pursuing a BFA in Choreography at Coker College

Lindsay Fallow - freelance artist

photos from “Two Vulnerable People” photo credit Meghann Padgett

In 2018, co-founders Bonnie Boiter-Jolley and Stephanie Wilkins founded the Columbia Summer Repertory Dance Company with a desire to offer dancers more options in a city focused heavily on ballet. They started with the financial sponsorship of the Jasper Project, a plan focused on summer performances (Columbia’s dance offseason) and a sold-out debut performance in 2019 which was followed by a sold-out concert in 2021. The company has extended their season length and become a 501c3 non-profit organization. The group’s popularity among Columbia natives comes from their commitment to exploring refreshing narratives and styles of dance in their work.

The Columbia Repertory Dance Company will perform IN OUR TIME on Friday, August 18th, 2023, at 8 PM and Saturday, August 19th, 2023, at 8 PM at CMFA Artspace (914 Pulaski St, Columbia, SC 29201). Admission is $30 for this event, and more info and tickets can be found at www.coladance.com  or https://donorbox.org/events/479213 for Friday and https://donorbox.org/events/479216 for Saturday.

Pictured left to right - Ashlee Taylor who performs with Moving Body Dance and the Johnson Company in addition to CRDC

Sakura Oka - 2017 World Ballet Competition Bronze Medalist who has performed with Columbia Classical Ballet, Ann Brodie’s Carolina Ballet, and Columbia City Ballet

This program is supported in part by H-tax funding from the City of Columbia and by the South Carolina Arts Commission which is supported in part by an award from the National Endowment for the Arts and collaborates in its work with the National Assembly of State Arts Agencies and South Arts. 

 ~~~~~

The Columbia Repertory Dance Company’s mission is to broaden the experience of professional dance artists and patrons in Columbia, SC through multidisciplinary collaborative performances year-round. We aim to retain the talents of South Carolina dance artists and provide a spectrum of professional opportunities while inspiring and developing a broader and deeper understanding of dance in Columbia and surrounding areas.

 

For more information about the Columbia Repertory Dance Company, please visit www.coladance.com or follow on Facebook and Instagram

 

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.

 

Poetry of the People with Al Black featuring Jeff Bryson

Given his years of service to the poets of SC and beyond, Jasper asked board of directors member Al Black to curate a weekly addition to Jasper Online featuring some of his favorite local poetry. A Poet of the People himself, Al produces gatherings of writers and musicians both in Columbia and throughout the Southeast. He is the author of two collections of works, I Only Left For Tea, and Man With Two Shadows.

I have chosen W. Jefferson Bryson as our first Poet of the People, because of the unvarnished immediacy of his truths; no bells and whistles or other affectations; just his truths in his words.

I know Jeff as poet and sometimes musician who grew up in the upstate and spent most of his adult life in the midlands as a social worker and then twelve years as the State Ombudsman and still was able to retain his integrity and humanity.

PTSP: Post Traumatic Stress Poetry   1970

How it Was

Until it Wasn’t

  

Two years down

How quickly it happens

On a Wednesday

Walking a path

Crickets and comrades

Then little dark men

In black pajamas

With old AKs

As big as they are

Leap out ahead of us

And scream and fire

And their aim

So poor, so terrified

Of hulking, red-eyed

American Devils

Their shots tear apart

The jungle around us

We aim together

And render them

Red mist, mostly

Painting the foliage

And the ground

All around.

 

And suddenly

Wednesday, again

Tour over, discharge

A duffle-bag

Jeans and a work shirt

Commercial flight

DC-9 to San Diego

Teach Your Children

On the radio

 

And all I know

Is friendly

Or foe

And me, now

Without a weapon.

 

Flashback, With Soundtrack  

Listening to Creedence

Reminds me of the jungle

The sound of M-16 fire

Of helicopters, of brown water

Of 50 cals, of F-4 Phantoms

The smell of rice paddies

Hot in the afternoon

Or drowning in rain

The smell of Napalm

The smells of Saigon

Viet Nam.

 

My Brothers

My God

Where are they

What has happened

To us all.

 

Zero-Dark-Thirty, One More Time 

Three-thirty in the dark. Again.

And I’m awake. Again.

And I remember. Again.

All gave some. Some gave all.

And the elephant grass

Grows tall and thick

Through my memory

And I forget

Until I dream.

 

And the sound of M-16 fire

Suddenly returns in the deep night

And the thump of 50 cals

I feel them in my ribs

My own heartbeat

Even now, quickens

And I remember

The smell of Napalm

And screaming death

And I will sleep no more

Tonight.

 

Steppenwolf  

You hear

Magic Carpet Ride

I see fire

Blossoming, rising

Red and black

Mushroom clouds

Of Napalm

In forever-green

Jungle.

 

Hueys

Cobra gunships

F-4 Phantoms.

 

Burning villages

Cluster bombs.

 

It won’t hurt you

It only kills plants.

 

Mekong catfish,

Twelve feet long.

China Beach.

Saigon.

Vietnam.

 

Some of us

Never went.

 

Some of us

Never left.

 

Something As Simple As a Song  

Creedence

Steppenwolf

Blood, Sweat and Tears

 

Da Nang

Dok To

Long Binh

 

My Lai

Khe Sanh

Hue

  

Suddenly 

How can it have come to this?

To be a sick, sad old man

Alone in a small apartment

In a raging city of angry strangers

All my comrades

Lost or gone

Ghosts of memory

Living or dead

And the greatest tragedy of all

Not a trace of senility

Or forgetfulness

Or rest

Or peace

In me.

 

W. Jefferson Bryson is a retired Social Worker. He has spent a lot of time with Vietnam vets and heard a lot of stories. Sometimes they come back in bits and snatches in poems like these.

A Poem by Randy Spencer

In this summer of Oppenheimer (and Barbie) mania, Chapin poet Randy Spencer was reminded of this poem, which he read in 2002 at a gathering for Richard Rhodes when he came to USC for a discussion of his "The Making of the Atomic Bomb." Jasper is pleased to share this with you 21 years later.

                                                                 

Georgia O'Keeffe Discusses Her Poem

 

                        [1945] My Ghost Ranch in New Mexico is due North

                        of Los Alamos. I have painted two canvases of the sky

                        pouring through the pelvic bones of cows, the first where

                        that light is deep blue, and the second where the sky turns

                        yellow and blood seems to pore from the circle of bone.

 

 

Pelvis III, 1944, Oil on Canvas, 48 x 40

Pelvis Series, Red and Yellow, 1945, 36 x 48

 

Pelvic bones, held up, are wondrous against the sky's blue

I felt would always be there, fixed, long after Man's

Destructiveness is finished. Cut sharply, they are a beauty

At the center of something unique, both horrifying and grand,

Empty, yet keenly alive. Perfect ovals, my eye captures

Them as elopements toward Infinity, absent any middle ground,

No perspective intervening between Birth and Death, treasures

I searched for among the camposantos until they were found.

 

Now red encircles the yellow, the acetabulum, the vinegar cup,

The foramen of blood, Batter, then, my heart,

Oppenheimer, quoting Donne, Three-personed Deity, now his Trinity,

His opening of an orifice for God to sculpt.

What colors, I would ask, could be left for the pacifist artist

Who magnifies emptiness, who paints Death against the desert sky.

- Randy Spencer

Photos courtesy of the Georgia O’Keefe Museum

Randy Spencer is a retired child psychiatrist living on the lake in Chapin. He is a published poet and short story writer, who most recently was a Pushcart Award nominee for a poem about the Ukraine war. His upcoming book from Muddy Ford Press is a series of interconnected poems taking place in Andersonville Military Prison in Georgia during the Civil War, but the themes are universal and timeless. He is currently working on a novella that reimagines Remarque's classic World War II novel, A Time to Love and a Time to Die, but is set in the current conflict in Ukraine.

Deadline for Fall Lines Extended to August 14th! Whew!

It’s not too late to submit your poetry and prose to the 2023 Fall Lines - a literary convergence journal and competition. 

Because at Jasper, we know how it feels to juggle art and life, we’re extending the deadline for submissions to 2023 Fall Lines volume X until midnight Monday, August 14th.  

This gives you two weekends to create a poem or some flash fiction, or to finish and polish that short story you’ve been building in your mind, if not on the screen or paper.

Don’t forget that this year we’re offering Three Prizes! 

The Saluda River Prize for Poetry and the Broad River Prize for Prose, sponsored by the Friends of the Richland Library, as well as the Combahee River Prize for South Carolina writer of color in either poetry or prose, sponsored by the SC Academy of Authors.

 

So relax. You have plenty of time to burnish your words and send them on to Jasper. 

We can’t wait to read what you’ve written!