OPEN CALL FOR LOCAL ARTISTS: CAE is Now Accepting Submissions for the 2024 – 2025 Art in the Airport Program

Calling all professional artists! The Columbia Metropolitan Airport (CAE) is now accepting submissions for the 2024 – 2025 Art in the Airport program.

Now in its fifth year, the wildly popular program showcases the artistic talents of four artists selected from across the Columbia region. Each artist will have the opportunity to display their work in the busiest part of the airport for roughly three months.

The Art in the Airport program not only enhances the passengers’ experience while traveling through CAE, but it also creates an immediate sense of place to those visiting Columbia, SC. Once a traveler lands at CAE, these pieces of art are the first creative and cultural touchpoints they see as a connection to the region.

Would you like your artwork to be considered for this prestigious program? Below are details on how an artist can submit artwork and the guidelines associated with the program.

Submission Requirements:

To apply for CAE’s Art in the Airport program, please email the following information to submissions@flycae.com by November 30, 2023 at 5 p.m.

• Name, address, phone, email, website (if applicable)

• Artist bio

• Artist statement

• At least five images representing the type of artwork anticipated to be on display.

• *Note: Artists must reside in one of the following Midlands counties: Calhoun, Fairfield, Kershaw, Lexington, Orangeburg, Richland, Saluda, Sumter, Lee, Clarendon, Newberry, and Aiken.

Selection Process:

Submissions will be reviewed by CAE’s selection committee. Artists selected for the rotating art exhibit will be notified December 15th with a public announcement on December 19th.

Exhibit Requirements:

The exhibition location will be in the connector of the terminal, the walkway between the security checkpoint and the departure/arrival gates. Selected exhibits must contain a minimum of twelve pieces as there are twelve wall columns in the location, six on each side of the walkway. (Multiple images/clustered pieces of work can be arranged on one column if desired/space allows).

CAE will provide labels for each piece in the exhibit to include artists’ name, contact information and the title, dimensions, type of medium and selling price of the piece. CAE will also provide signage for the exhibit to include the artist’s bio and/or statement.

Exhibitions must be physically suited to the space, allowing for uninterrupted traffic flow. If selected, artists agree to suitably frame, wire and install their artwork at their own expense. Artists must be willing to sign CAE’s Artwork Loan and Hold Harmless Agreement.

Selected artists are welcome to preview the exhibit location by contacting Samantha Kingsmore, Marketing Manager, at S.Kingsmore@flycae.com, as a staff escort is required to access the location.

Insurance:

Art displayed at CAE is insured by the Columbia Metropolitan Airport while on site; however, the transportation to and from the airport is not covered. Prior to installation, the selected artists will provide CAE with a description of the exhibit pieces to include the title and value of each piece.

Things to Know:

CAE does not charge artists to exhibit their work but will require a 5% commission on all pieces sold. This commission will be reinvested into the CAE Art in the Airport program – enhancing display opportunities and required signage. All art transactions must be conducted between CAE, the artist, and the purchaser.

Vista Lights at Stormwater Studios

Thursday, November 16, 2023
6 PM to 9 PM

Join Stormwater Studios for an evening of art, lights, and entertainment during the 38th
Annual Vista Lights.

This evening will mark the opening of Stormwater Resident Artists’ Semi-Annual Exhibition in our gallery. In addition to a live performance from local drummers, Namu Drum Company, underneath our massive Christmas tree, and you can view our new container adorned with lights.

Their neighbors Lewis + Clark and One Eared Cow Glass will also be participating in this event. Their spaces will be open for everyone to see where they create using metal and flames.

You will be able to stop at all of these locations to see a variety of creative workspaces, meet local artists, and purchase the perfect present, an original piece of art.

You don’t want to miss out on this great family event. All are welcome. Please invite your friends, family, and community to 413 Pendleton Street, Columbia, SC 29201.

Art on the Pond features Bailey, Thornley, and Smoak - November 11th

Saturday, November 11; 10:00 am - 4:00 pm: Art on the Pond, Lucy Bailey Studio, 320 Wateree Creek Road, Irmo, SC 29063 / Rain or shine

Join us for our 3rd annual open studio and sale of artwork and artful gifts by Lucy Bailey, Rick Smoak, and K Wayne Thornley.

Paintings - Collage - Photography - Ceramics - Jewelry - Mixed Media - Assemblage - Sculpture

Come to shop, visit, talk art, and meet friends! Google Maps should get you here, but other navigation systems may not. You can only get here via Carrie Shealy Road so check your route. (Holladay Road will NOT get you here!) Drive slowly on these dirt roads and watch for other cars entering and exiting. We look forward to seeing you at the pond!

For Opus and the Frequencies, “All Frequencies Welcome,” is More Than a Motto

This article was originally featured in the Fall 2023 issue of Jasper Magazine. That version incorrectly attributed Kirk Barnes’s quotes to another band member. This is remedied in the version below. Our apologies to Barnes and Opus and the Frequencies for this error.

Genre-bending and categorically defiant, Opus and the Frequencies has  emerged as a force to be reckoned with in the local music scene. Behind the name are four people with an innate love for music, anchored by a desire for storytelling, vulnerability, and authenticity.

The core of the band is the eponymous Opus (vocals, keys, saxophone, clarinet, and more), who originally did not want to be a musician. It was a challenge from a band director to play the saxophone—band itself a simple mix-up in his middle school schedule—that eventually led to music being his driving force. As soon as he found music, Opus became dedicated to creating unique sounds, a journey that eventually led him to the Frequencies.

Columbia is rife with talented musicians, but Opus was not interested in just sound. What he was looking for was raw emotion, something unspeakable and intangible. All at different times, he got the opportunity to hear Jesse Tortorella (drums), Steven Tapia-Macias (bass), and Kirk Barnes (guitar) play. As Opus recalls it: “I wanted the boys that we have now. Luckily, the universe gave me exactly what I asked.”

Today, nearly seven years after forming, Opus and the Frequencies have found their identity as an eclectic group with an eclectic sound. Though Barnes says their genre is best described as “a mixture of rock and funk,” the band sees it as a point of pride that they do not sound like anybody else—sometimes even themselves.

“Everybody always asks, what's your genre? And it's like, I don’t think we have one. We're all over the place,” Opus says, “My music taste is all over the place, so why shouldn’t the music I play be? I feel like what we do should be all over the place because I don't like being limited, sticking to one sound or genre.”

This inherent variation is echoed in their live performances as well. A band has to be intuitive, to read an audience, and, as Barnes says, “play what feels right in the moment.” Opus indicates that there is a current that runs throughout the room during a show, a charge that keeps the energy moving, and everyone has to be connected for it to work. As the front man, Opus directs energy into the rest of the band, which comes back through him and into the crowd, circling back into him—and the cycle repeats.

“I want the audience to know when we play that, yes, obviously if you paid to see the show, it's for you, but the show is not for you,” Opus asserts, “The show is for the band to enjoy, and we love it and give that energy out, and that’s what then makes the audience enjoy it so much.” 

Tapping into this is what has led to two of the band’s notable ‘we made it moments’: their first time playing at New Brooklyn Tavern and their recent July tribute to James Brown. These are the experiences that provide them the fuel to work on their own music, particularly their first EP, “You’re Trash, Kid,” which was released in January of 2023.

The EP consists of five songs, a vibrant mix of sound and emotion where, around each corner is an unexpected turn. Almost all the songs are created collaboratively; take, for instance, “Jesse’s Song.” When Barnes played his hand-written tune (one oft-requested by a college friend) for the band, they all immediately felt a connection After hearing it, Opus penned lyrics about missing old friends, and the four honed it sonically into its final version—and named it after the college friend that first heard it.

Reflecting on their journey, the group sees Columbia as having been vital to the ways they have blossomed. However, as they ruminate on their future—which includes new music coming in 2024—they recognize that significant growth must take place to shore up the city as a supportive space for all artists.

“I think we need more connection between the art scenes; there's not enough communication from the inner circle to the outer circle,” Opus argues. “Right now, there's a centralized group of musicians that more or less control the scene. Fortunately, we’re blessed to be a part of that group, but there are newcomers trying to get into the group who can’t and people who have already been here that don't get recognized—I know this because I used to be on the outside.”

Barnes echoes this, noting that while “it is not any one person’s fault, … there is a lot of socialized power here” that can only be remedied by larger, established venues dedicating themselves to local artists, versus just regional or national, as well as smaller, central venues taking chances on emerging artists.

These concerns are only reflections of the care the group has for the city. This is a place they are fully committed to continuing to grow in while also assisting in the growth of. It will take a village to fortify this community as the art-oriented space that so many creators desire it to be, but the embrace of the effervescent talent that is Opus and the Frequencies is proof we are already on the right track.

“This city, these venues are special. We've played a bunch of shows here, made friends here.” Opus says. “The people are what have made this place special. We've had a lot of good memories here, and we plan to keep that going.”

All Good Book Events Coming Up

One of the best things about having an independent bookstore in your hometown is the opportunities for community engagement it offers. Especially when the world feels off-kilter (can you remember when the world actually felt on-kilter?) it’s a joy to gather with other curious individuals to learn more about art, science, nature, life — pretty much anything that helps us understand why we are the way we are and why we do the things we do.

Luckily, Columbia has All Good Books now, located at 734 Harden Street. Bonus! Not only does AGB have convenient parking, it also has an excellent selection of coffee, vino, and books plus plenty of places to curl up for a conversation or a good sip and read, and now, there’s a lovely garden area out back where we can enjoy the fresh air and sun.

Thank you All Good Books!

Coming up at All Good Books

Walter Edgar’s Journal - LIVE Recording and BookNook RevealTuesday November 14th, 2023 @ 10:00AM - 12:30 PM

Walter Edgar will be recording his latest episode LIVE from AGB, and will reveal his new BookNook, featuring many of the books he has highlighted over the years, which will be available for purchase at AGB. The recording will be a ticketed event; more information coming soon, but you are welcome to email us at info@allgoodbooks.com or call us at 803-205-4139 if you are interested in attending and we will get back to you soon!

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Queer Writers of Columbia Publishing Strategy WorkshopWednesday November 15th, 2023 @ 6:00PM - 7:30 PM

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Cassie Premo Steele Book Launch PartyThursday November 16th, 2023 @ 6:00PM - 8:00 PM

Thursday, November 16th, at 6 pm, Cassie Premo Steele will be here to celebrate the release of her new book Beaver Girl.

Cassie Premo Steele is a lesbian, ecofeminist, mother, poet, novelist, and essayist whose writing focuses on the themes of trauma, healing, creativity, mindfulness and the environment. She holds a Ph.D. in Comparative Literature and Women's, Gender and Sexuality Studies from Emory University in Atlanta, Georgia. She is the author of 18 books, including 7 books of poetry and 3 novels. Her poetry has been nominated 6 times for the Pushcart Prize. She was a Finalist for the Rita Dove Poetry Award judged by the current US Poet Laureate Joy Harjo. She has also been awarded the John Edward Johnson Prize and the Carrie McCray Literary Award for Poetry. She is a recipient of the Archibald Rutledge Prize named after the first Poet Laureate of South Carolina, where she lives with her wife.

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Anthony Varallo Columbia Book Launch Party Friday November 17th, 2023 @ 6:00PM - 8:00 PM

Anthony Varallo is the author of What Did You Do Today?, winner of the Katherine Anne Porter Prize in Short Fiction, forthcoming from the University of North Texas Press in Fall 2023. His other books include a novel, The Lines (University of Iowa Press), as well as four previous short story collections: This Day in History, winner of the John Simmons Short Fiction Award; Out Loud, winner of the Drue Heinz Literature Prize; Think of Me and I’ll Know (Northwestern University Press); and Everyone Was There, winner of the Elixir Press Fiction Award. He is a professor of English at the College of Charleston in Charleston, SC, where he directs the MFA Program in Creative Writing and serves as fiction editor of swamp pink literary journal.

Midlands Light Opera

Midlands Light Opera Society is thrilled to announce the Love, Laughter and Light Opera Cabaret on Saturday, November 18 at The Living Room. The program will begin at 7:30.

You will enjoy love songs and comedic numbers from golden age musicals and operettas including HMS Pinafore, The Mikado, and Die Fledermaus. There will be some golden oldies, new takes on familiar pieces, AND special sneak peeks of Gilbert and Sullivan’s Patience, which we will perform in February, and an original horror-inspired opera that will premier in summer of 2024. 

Singers include Nikki Anderson, Greer Arcomona, Michael Brown, Jason Collins, Lilith Clary, Evelyn Clary, Abraham Hardy, Laura Hutchins, Roddey Smith, and Felicia Torres, who will be accompanied by Mary Ann Clary and Ashleigh Morse on keyboard. Ann Benson and David Bankston, who have enjoyed international operatic careers, will serve as our emcees.

Midlands Light Opera Society is in its first year, and its twofold mission is to bring fully staged live operetta to the midlands, and to give local performers of all ages, backgrounds and experience levels the opportunity to perform these works. 

Tickets for adults will be $20. Tickets for those under 18 are $10. Tickets may be purchased at the door with cash or card. We do not accept checks. The Living Room is located at 6729 Two Notch Rd in Columbia, right next to Very’s Restaurant.

Poetry of the People with Cassie Premo Steele

This week's Poet of the People is the indomitable Cassie Premo Steele. Cassie is an Earth mother to many poets and writers. Her poetry invites you to take a walk with her in a forest to her safe place for an intimate poetry salon with the denizens of nature. A Daughter of Light, she leads you back to the city refreshed and remade.

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Cassie Premo Steele is a lesbian ecofeminist poet and novelist and the author of 18 books. She will be reading from Swimming in Gilead, her seventh book of poetry, at Simple Gifts on November 7, and the launch party for her third novel, Beaver Girl, will be at All Good Books on November 16. Her poetry has won numerous awards, including the Archibald Rutledge Prize named after the first Poet Laureate of South Carolina, where she lives with her wife. She is currently running a Kickstarter project to fund the Beaver Girl Book Tour:

Poems from Swimming in Gilead, Yellow Arrow Publishing, 2023

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Let Us Begin Again

Be very quiet. Make it dawn.

Rise from bed. Walk on the lawn.

Wait for it. The sun is coming.

It’s a new one. It’s beginning.

You don’t believe me, you say

this happens every day, there’s

nothing new under the sun and

certainly not the sun itself.

Put your doubts on a shelf,

I say to you. Hush now.

Listen to the birds singing.

Watch the blue ones feeding

their babies. See the heron

heading south for fishing.

Look at the egrets catching

pink light in their white wings.

Faith is made of things like

these, everyday movements,

sights and sounds that you

usually ignore, and today,

since you’ve told me you’re

tired of life and wanting something

more, I’ve shown you how to do it,

and now that you know,

come, let us begin again.

The Woman Speaks of Bicycles 

I’ve known bicycles:

I’ve known bicycles new as my skin and older than my dried blood

from my womb.

I’ve known bicycles:

Reliable rubber and metal bicycles.

My body has grown strong like bicycles.

I rode along the Minnesota roads when constant motion was my freedom.

I got off my bike and walked the sugar bluffs, puffing with each step.

I looked upon the Mississippi and had a vision of finally flowing away.

I heard the wheels of my bike whizzing downhill at the end of the day.

I’ve known bicycles:

Reliable rubber and metal bicycles.

My body has grown strong like bicycles.

I rode in Carolina when children waited for me back home.

I got off my bike and walked the hilly edge of Covenant Road.

I looked upon the Congaree River and knew I would always stay.

I heard the music of my own voice saying I could live a different way.

My body has grown strong like bicycles.

This Is How We 

I once knew a Native woman,

Eastern Cherokee, who taught me

that in order to fix a rip in a basket,

you can’t just go in after it.

You have to unwind the fibers until

it’s pinestraw and sweetgrass again.

This is how we begin again.

I once injured my left knee

and the physical therapist,

a Latina from Texas, showed

me how a lack of stability

in my right hip had caused it.

The body crosses like this,

she said. It’s all connected.

This is how we heal again.

I once lay on my bed for hours

on end, as a child in Minnesota,

reading book after book while

my body disappeared, and so

did the pain and fear, until

I was just a mind in a story.

It took me years to invite

my body back into the party.

This is how we move again.

I once stayed in endless motion

of serving and cleaning, cooking

and feeding, wiping and washing,

drying and folding, until my mind,

always so strong, broke hard

and long, and for the first time,

I told the truth in therapy.

This is how we feel again.

I once heard a song that felt

like it was singing all that had

gone wrong, and I thought

it had been written just for

me, and then a pandemic broke

the globe and I realized everybody

knows the melody of tragedy.

This is how we begin to be together for the first time really.

Sun Loving 

Just before the day ends, I look up

and the sun is in drag, orange lipstick

and purple fingernails, red hair,

peach high heels, and I say, Hey, girl,

Where you headed? And she says,

Off to bed. Alone? I ask. You know

better than that, she laughs, and

as she sashays away, I see the moon

and stars take her by the hand

and lead her downstairs to a ballroom

for a final dance before kisses and

all the love she has ever deserved.

Under a Full Moon 

What must be done is a gathering

of women under a full moon,

each one holding in her hands

a leaf or bud or flower, blade

of grass, and together we say

the names of these plants,

and the list transforms into

a poem, a prayer, a spell, an

incantation, a chant and belief

in peace, peace, peace, peace.

And when our throats go sore

and voices tire, we take our

empty hands and make a chain

to keep the violence from crashing

into bodies any longer, and

dream that war will cease.

Seeds 

I spent years diving and digging

and bringing coral and diamonds

up into the light with my palms,

but the sun had dimmed so much

that my gifts were invisible, and I

mourned the bodies and voices

of women and girls I’d wanted

to crown with orange and bright

jewels who had all gone down

underground in a collective action

of mutual survival, and so I let

what I wanted to give away

drop to the ground and walked

so long up a mountain that I could

look back and see the seeds had

buried themselves back into the

earth to be trees. Tall were their

trunks and the leaves sang green

songs to bring the girls and woman

back to me and back into the castles

and courts we ruled over again in

this land where we’d always belonged.

Tuesday Afternoon 

I walk with my fingers on the page and

I dance with my hips on the stage I have

made in my room where bluebirds take

turns with me playing the parts of star

and audience and I hear the silence filled

with breath and electric hum and a neighbor’s

rake and I touch my dog’s fur and think

about origins and species and know that

nothing the mind does brings as much joy

as an animal can and I laugh while

remembering my grandson’s voice after he

knocked my chin with a stick in the garden

and asked me, Are you okay, Gaga?

and I wonder what would have happened

if God had been more like this boy in Eden

and instead of rules and banishment, we’d

been met in our mistakes and our pain

with a question and compassion.

Georgia McBride at USC’s Longstreet Theatre a Fiercely Funny Celebration of the Art of Drag

From our friends at USC Theatre and Dance —

USC’s historic Longstreet Theatre is about to get even more legendary as the theatre program presents the fiercely funny Off-Broadway hit The Legend of Georgia McBride, November 10-17.

Show times are 8 p.m. Tuesday through Saturday, with additional 3 p.m. matinee performances on Saturday, November 11 and Sunday, November 12.  Admission is $15 for students, $20 for UofSC faculty/staff, military, and seniors 60+, and $22 for the public. Tickets may be purchased online at sc.universitytickets.com. Longstreet Theatre is located at 1300 Greene St.  Enter from the rear breezeway off Sumter St. The Legend of Georgia McBride contains adult themes and mature language, and is not suitable for children.

Tony®-winning playwright Matthew Lopez’ hit Off-Broadway comedy is a glittering, music-filled story of identity and acceptance, described as “stitch-in-your-side funny” (The New York Times) and “a glorious tribute to the art of drag” (Variety). Lopez’s story centers on Casey, an aspiring Elvis impersonator struggling to make it in showbiz.  He’s broke, facing eviction, and just found out his wife is pregnant. To make matters worse, he’s about to lose his only gig at a local dive bar to a much more successful drag act. The only way he can survive? Ditch “The King” and learn to embrace his inner Queen!

Two guest artists are leading the production. Jessica Francis Fichter, Executive Director of Columbia’s Trustus Theatre, returns to the USC stage as director, having recently helmed USC’s production of Little Shop of Horrors. Terrance Henderson, an award-winning theatre and dance artist, director, teacher and Equity Advisor, is choreographing, while also consulting the company on the art of drag. He’s additionally embodying the onstage role of Miss Tracy Mills, the seasoned performer who guides Casey on his journey to legendary queendom. 

“It’s super meta,” says Henderson, a veteran drag performer, of his dual roles in the production. “I appreciate that in the play we get to see Tracy take Casey through the basics of drag performance, and that a lot of the things I’m teaching the actors are being spoken about in the play.”

For Henderson, at the heart of drag is the art of theatre.  “It’s like a mini play in six minutes,” he says. “I’m using all these devices of the body, physicality, choreography, costume, make-up, props…It’s all storytelling.”

“It’s an art form that needs to be celebrated,” says Fichter, “and deserves respect at this moment in time. This play is even more timely now than when it was written in 2014.”

Joining Henderson in the cast are undergraduate actors Koby Hall (as Casey), Keyontaye Allison, John Ballard, and Morgan Passley. David Britt, a senior theatre instructor at USC, is taking on the role of bar owner Eddie. Designers for the production are MFA theatre design students Ashley Jensen (scenic), Lindsay Wilkinson (costume), and Lorna Young (lighting), with undergraduate Makenzie Payne designing make-up and guest artist Danielle Wilson designing sound.

“This play is, first and foremost, a comedy,” says Fichter. “The one-liners, the banter between the characters, the 20-minute drag show in the middle of the play… if you are a lover of theatre or art, and a lover of fun, dancing, and joy, this is a really good play for you.”

“You get to witness these drag performances while also experiencing the evolution of someone’s drag journey up front and in person,” adds Henderson. “It’s a visceral experience that lifts the story and drag itself, too.”

For more information on The Legend of Georgia McBride or the theatre program at the University of South Carolina, contact Kevin Bush by phone at 803-777-9353 or via email at bushk@mailbox.sc.edu. 

Reminder - Get your original scripts in for the 2024 Play Right Series

Play Right Series: 2024 Call for Submissions

The Jasper Project announces the fourth cycle of its Play Right Series, a collaboration between area theatre artists and Jasper Community Producers—or theater aficionados, supporters and even newcomers. The project will culminate in summer 2024 with the staged reading of a brand-new South Carolina play. 

Submitting A Play

The play submission window is now open. 

• Playwrights must be natives or residents of South Carolina.

• The winning playwright must be present for development sessions with Community Producers in Columbia during the summer, 2024 (specific dates to be determined later), and must agree to offer program credit to The Jasper Project at any subsequent productions or publications.

• Plays may address any topic, using language appropriate to the subject matter; we are not, however, considering musicals or children’s plays. 

• Submissions must be one-act plays, 45-75 minutes in length, typed according to industry-standard format (see our Sample Format). Collections of shorter revue sketches on a common theme will be considered.

• Please include, as a cover sheet, a one-page bio of the playwright and description of the play, including cast size and any unusual technical demands, bearing in mind that smaller and fewer are usually preferable.

• One submission per playwright, please.

• Please submit your play no later than January 31, 2024,  to playrightseries@jasperproject.org

Play Selection

When the submission window closes on January 31, 2024, the Play Right Series committee will read and select a play for development through the spring and summer.  “Development,” in this case, means round-table readings with paid actors and directors and attended by Community Producers and Professional Others, followed in the summer by rehearsals and presentation at Trustus Theatre’s Side Door stage. 

The process will be facilitated by Jasper Community Producers—audience members invested in the development process and supportive of the state’s literary talent. In exchange for a modest financial contribution Jasper Community Producers will be offered insider views of the steps and processes inherent in creating theatrical art by attending readings and rehearsals, and informative talks and presentations including conversations with the actors, director, playwright, stage manager, costumer, and sound and lighting designer. The result: Community Producers learn about the extensive process of producing a play and become invested personally in the production and success of the play and its cast and crew, thereby becoming diplomats of theatre arts.

Announcing Frightmare on Main Street’s Pumpkin Carving Contest Winners!

Last Friday, the Jasper Project and Black Nerd Mafia hosted Frightmare on Main Street. The event boasted music from Death Ray Robin, a costume contest, a horror panel and trivia, and Jasper’s second annual pumpkin carving contest.  

10 local artists carved pumpkins (provided by Gardener’s Outpost) and brought out their creations for the competition: Ija Charles, Adam Corbett, Michael Krajewski, Cait Maloney, Cynthia Maxwell, Roxanne Mockabee, Taryn Shekitka, Michael Shepard, Keith Tolen, and Thomas Washington. 

A judging committee made of Jasper and Black Nerd Mafia members selected winners in three categories—Scariest Pumpkin, Funniest Pumpkin, and Most Innovative Pumpkin—as well as an Honorable Mention. The final prize—People’s Choice—was voted on by the people in attendance and came with a medal and glass-blown pumpkin trophy that will be passed down to future winners of the award. 

By a look at the number of candy pieces in each pumpkin’s bag, it’s clear all the pumpkins were loved, and at the end of the night, all pumpkins had a bid and went home to decorate several Cola porches. Want to know who took home the night’s biggest pumpkin prizes? Keep reading!

Honorable Mention: Cynthia Maxwell

Judges loved the double layers and the beautiful crow.

 Funniest Pumpkin: Roxanne Mockabee

Who hasn’t felt like “Anita” at the end of a Halloween party before?

Scariest Pumpkin: Michael Krajewski

So scary you want to look away, but so cool you can’t. 

Most Innovative Pumpkin: Cait Maloney

Whether Rocky Horror or Mario inspired, the way these pumpkins were carved totally transforms their appearance. 

People’s Choice: Taryn Shekitka 

With the beautiful center image, the level of detail, and the use of props, it’s easy to see why this was a crowd favorite! 

Congratulations to all our winning artists! And a big round of applause for the other five pumpkins in show, presented alphabetically:

Artist - Ija Charles

Artist - Adam Corbett

Artist - Michael Shepard

Artist -Keith Tolen

Artist - Thomas Washington

Jasper hopes to see you all at Frightmare next year for more spooky fun!

Special thank you to board member Kimber Carpenter for photography!

And a HUGE THANK You to

Sandra and Greg at Curiosity Coffee

for hosting us!

Marv Ward Book Signing at Sound Bites' First Thursday Event

Jasper welcomes Marv Ward to Sound Bites Eatery for a First Thursday Book Signing of his new collection, Bar Stool Poet, published by Wateree Creek Creations, an imprint of Muddy Ford Press.

First Thursday with Barbie Mathis - Coming up November 2nd

Please join the Jasper Project as we welcome Barbie Mathis to First Thursday at Sound Bites Eatery on Thursday, November 2nd!

Barbie Mathis, a native of Columbia, SC, has been working as a professional artist since 1980. Over the years, she has evolved as an illustrator, designer and painter working in various media with her main emphasis being Watermedia (Acrylic and Watercolor) painting. Barbie’s primary focus has been on realistic florals and landscapes immersed in layers of colorful glazes, dramatic lighting and rich, natural backgrounds. She has also created her own artistic renditions of people and animals. Most recently, Mathis has been experimenting with a variety of realistic, abstracted and mixed-media styles in Acrylic Paint.

Mathis studied Fashion Design and Illustration at Bauder Fashion College in Atlanta, GA. She has since worked in advertising, graphic design and mat design for various newspapers, printing companies and art galleries. She has been published by Bentley House Publishing and currently self-publishes a limited number of fine art prints. Barbie was awarded her Signature Membership in the South Carolina Watermedia Society in 2006. She has exhibited and won awards in numerous shows, and her work is in both public and private collections around the country. Barbie was an adjunct instructor at Midlands Technical College for 9 years. And, she currently teaches painting at City Art Gallery in Columbia, SC. She also teaches private classes and workshops for individuals and art leagues in South Carolina and throughout the Southeast. Her work and contact information may be found on FB: Barbie Mathis Studio or IG: @BarbieMathisArt
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Artist Statement:
“The Great Experiment,” a show of small, experimental Acrylic paintings by Barbie Mathis

My word for 2023 has been Experiment. Exploring Acrylic paint, and painting some of the many looks and styles that it can achieve has been my “Great Experiment”. This show represents a variety of ways that I have used Acrylic paint to look like Watercolors, Oils, Acrylics and Mixed-Media in all of its thick and thin, realistic to abstracted styles. I have also explored both hard and soft details and patterns in nature, shapes and artificial textures. It is my hope that the viewer will find pleasure in the differences.

Sergio Hudson at Columbia Museum of Art

The Columbia Museum of Art presents Sergio Hudson: Focused on the Fit, an exhibition showcasing the work of iconic fashion designer and Midlands native Sergio Hudson, on view Saturday, November 18, 2023, through Sunday, June 30, 2024. Organized by the CMA in partnership with Sergio Hudson Collections, LLC and community curator Megan Pinckney Rutherford, this exhibition showcases the remarkable moments of a designer who fell in love with fashion at 4 years old while living in Ridgeway, South Carolina, and has become one of the biggest names in the industry today.
 
“Many things are happening in my life that I could only dream of — this exhibition at the CMA is one of them,” says Hudson. “I feel very lucky, and I hope my story can inspire other young men in South Carolina to believe in themselves and follow their passion.”
 
Hudson and his colleagues Inga Beckham, co-owner of Sergio Hudson, and Charles Lynch, co-creative director of Sergio Hudson, will be at the CMA on November 18 for a special opening day program.
 
“We are honored Sergio Hudson is sharing his story and craft in his home state museum,” says CMA Executive Director Della Watkins. “Visitors will feel his extraordinary sense of glamorous style and passionate enthusiasm for making women feel confident and fabulous. This ascending artist is signature South Carolina special!”  
 
Born and raised in Ridgeway, Hudson has always taken inspiration from the strong women in his life, particularly his mother, Sheldon Hudson, who exposed him to sewing and fashion design. Since launching his first eponymous label in 2014, his fresh perspective on luxury American sportswear has taken the fashion world by storm. Hudson’s high-profile clients include Michelle Obama, Beyoncé, Serena Williams, Jessica Alba, Blake Lively, Rihanna, Kamala Harris, Kendall Jenner, Issa Rae, Jessica Chastain, Rachel Brosnahan, and Keke Palmer, a close friend whom he has called a muse.
 
“Sergio is an example of what it means to ignite a passion and never let go of the dream. Focused on the Fit is not only a show about fashion, but also a story of how one makes their mark in the world,” says CMA Director of Art and Learning Jackie Adams. “We are so proud to present Sergio’s work, and we hope this show will inspire and educate visitors about a creative visionary driven to make a difference in how we choose to show up in the world through fashion.”
 
Hudson’s philosophy is that fashion should be for everyone and include everyone. He designs to empower the wearer and often includes a nod to the ’90s of his youth. Exploring his journey from the early days winning Bravo’s Styled to Rock in 2013 up through the present day, Focused on the Fit features nearly 50 works — some 38 illustrations alongside 10 signature garments from key moments in Hudson’s revolutionary career, including Keke Palmer’s stunning ensemble from the 2023 Met Gala, Megan Rapinoe’s star-spangled suit from the 2021 Met Gala, a suit ensemble worn by Beyoncé in 2019, and a custom suit made for Issa Rae in 2018. Visitors get an opportunity to see the creativity and teamwork behind the building of a brand from concept to craft to collection in a holistic look at the design process.
 
“As a lifelong lover of fashion, I am thrilled to be the community curator behind this exhibition showcasing the incredible work of my dear friend, Sergio Hudson, a successful Black fashion designer that was born and bred right here in the Midlands and is well on his way to becoming the next iconic American designer,” says Rutherford. “I am honored to get to share his story with a community that inspired and supported him, and also with the next generation that I’m sure will be inspired by his familiar beginnings.” 
 
Sergio Hudson: Focused on the Fit overlaps with newly opened exhibition Lee Alexander McQueen & Ann Ray: Rendez-Vous, providing museumgoers two iconic fashion exhibitions to experience this fall and holiday season.
 
This exhibition is organized by the Columbia Museum of Art, South Carolina, in partnership with Sergio Hudson Collections, LLC and Community Curator Megan Pinckney Rutherford. Bronze Sponsors: First Citizens Bank; Dr. Suzanne R. Thorpe and Dr. John W. Baynes. Patron Sponsors: Gina Trippi and John Kerr; Barbara B. Boyd; Friends of African American Art & Culture. Friend Sponsors: Hotel Trundle. Grantors: City of Columbia; Experience Columbia SC; Richland County Government; South Carolina Arts Commission; Discover South Carolina; and a grant from the Coastal Community Foundation at the request of CMA member Bonnie Adams Kapp.
 
Sergio Hudson: Conversation with the Designer
Saturday, November 18 | Doors at 1:30 p.m. | Conversation 2:00 – 3:00 p.m.

Celebrate and learn about the remarkable moments of a designer who fell in love with fashion at 4 years old while living in Ridgeway, South Carolina, and has become one of the biggest names in the industry, designing for modern icons. On opening day of Sergio Hudson: Focused on the Fit, join Community Curator Megan Pinckney Rutherford for an intimate conversation with acclaimed designer Sergio Hudson along with Inga Beckham, co-owner of Sergio Hudson, and Charles Lynch, co-creative director of Sergio Hudson. Attendees receive a complimentary signed exhibition poster. Sparkling wine and sweet treats included. Registration required as space is limited. $100 / $75 for members.

Poetry of the People with Amy Drennan

This week's Poet of the People is Amy Drennan. To meet Amy is to walk into bright sunshine. She is Charleston's house mother of lost poets. She is a gifted writer and poet who feeds and houses poets who need a safe place to land and sacrifices her opportunity to shine to promote others. She is a gift and a treasure and my friend.

Amy Drennan was born and raised in Los Angeles CA. As a reluctant military spouse, she’s lived all over the states, and now calls Charleston SC, her permanent home. She is an advertising executive, an above-average wife, and mom to several exceptional humans, a scraggly dog, and anyone who finds themselves in need of some love. She enjoys writing, as her Irish heritage has rendered her impervious to traditional forms of therapy.

If You’d Tried 

It’s ok.

I’m a bit much.

Not everyone likes a woman

with a gap in her teeth

who cries

a lot.

Some can’t handle a bunch of words,

being fed all the time.

Some prefer hungry.

I’d just tell you

you’re beautiful every day.

You wouldn’t want to hear it,

couldn’t bear it,

already know and don’t need it.

Maybe you don’t have needs.

You may not like your name

when I say it.

I’ve whispered your name

into a few mouths.

Some don’t care for whispering.

Some don’t like their mouths.

There’s peach fuzz

at the base of my back.

It’s ok to dislike peaches

and my back.

The way I’d curl it into you.

The way I’d arch it in your honor.

Some prefer the front,

like to see what they’re dealing with.

I’d love you so softly,

so loudly,

you’d be sick of it by now.

Maybe heat isn’t your thing.

You’ve been burned,

had your fingertips singed off.

You don’t touch anything warm now,

you promised.

I have freckles on my freckles.

Maybe you don’t like freckles.

Maybe you’d learn to love them.

I’d have shaved my legs for you,

if you’d told me you were coming.

Do you like women in bathtubs?

What if they stay there

till sunrise,

writing and not sleeping,

writing about not sleeping?

Would you like to not sleep with me?

You wrote your number for me

on a notepad, a matchbook,

the back of my hand.

I didn’t keep it, it kept me.

I’m calling you from up North,

down South,

out East.

Somewhere you’ve never been,

have always wanted to go.

You might think I’m a firefly, a star,

Christmas lights in June.

From this distance there’s no telling.

We could be night sky.

Two blinks to navigate by.

Point A and point me.

The shortest distance between us,

a wish.

We could’ve found each other

if you’d tried.

 Kissing a man without lips

Last night I dreamt a tiny tooth

broken on your boyhood gums

sunk into the flesh

of my cellulite thigh,

my stretch marked hip,

my salt lick neck,

my all I have is yours,

if you’d like it.

The first time you planted in me

up came everything hardy,

hungry,

difficult to kill.

It’s peach season in the south.

You can travel there

without leaving the West.

You can wipe sticky sweet

from your chin,

eat till your belly hurts,

till Summer is an abomination.

I am a fire you set.

A sun plucked from its sky,

made brighter for shining

in dark places.

My memory is thick and unforgiving,

but yesterday you is forgotten.

I can’t recall you before you now.

Punch drink me,

and you a punch pourer.

A lover of your own reflection.

I make an awfully good mirror.

 What I will tell your daughter

who is old enough to ask

Your dad was maddening

and he was loved

He held his ear

to a glass

held the glass

to my chest

he listened

he listened harder than anyone

He heard pins drop

secrets spill

belly aches and butterflies

He heard pieces break

the push-pull

of stitching back together

He washed my hair once

I didn’t ask

but he heard me

always listening

He had the softest spots

the brokenest bits

he thought himself ugly

but he cried like music

when he cried

he was the bluest

most beautiful boy

 Not sorry

You are sorry not sorry

‘bout the fire you’ve become.

By the time you read this,

I’ll have flown the coop.

By the time you see this,

I’ll be blue eye disappeared.

I loved more

than either wing,

gave up flight for you,

stopped singing.

Each leaf I know

has turned color

and dropped.

Every leave I know

has left.

I’ve gone gone before.

Old news,

fresh ink,

ablaze in the end.

I wove you a bed

you’d never need,

stepped lightly over,

apologized never.

Don’t deliver the news of our deaths

Repeat after me.

We are ok.

It’s all ok.

We can breathe

don’t need to breathe

to be here. 

We don’t die,

we make room.

We are enough light

to fill a teacup,

a sky,

a memory full of here

and gone again.

Bushels of babies are born

while grievers grieve.

If we hold our ears

to them,

lay hands,

we can hear the whole ocean,

feel what made way.

We wish us

Hallelujah

each time we walk

through a door.

We wish us

a soft touch

a gentle goodbye

when it’s time.

REVIEW: A New Brain at Workshop Theatre

William Finn’s 1998 Off-Broadway musical, A New Brain, paints an autobiographical portrait of a struggling writer who, while attempting to pen two children’s show songs, suffers a rupture of the arteriovenous malformation in his brain. Upon realization he needs a life-threatening craniotomy, he has to reckon with what he has yet to accomplish as musician, son, and lover.

Workshop Theatre’s production relies on a cast rife with Workshop veterans, and even those new to Workshop are not new to the stage. This stands out in the production, and each cast member brings a take on their character that feels real and lived in. Jocelyn Sanders makes good decisions as director, and though there are places where the play falters, it overall shines. 

In terms of elements that don’t work as well, let’s get the major one out of the way: the screens are weird. The set design itself, led by Patrick Faulds, is bare but works for the small stage. The stage is set with two Plexiglas walls with a major object or two (like a hospital bed) that shifts in the foreground. Two small screens on either side of the stage are used to flesh out the background, and they are certainly unique and at times fun, but they are ultimately awkward and distracting. They are a bit too small to really serve as a backdrop and seemed confused in purpose. At times they display what would be in the background of the scene, like Gordon’s messy apartment; however, there are moments where they show elements already on stage. For instance, the hospital room screen shows an empty bed even though there is already one stage, or when Mr. Bungee – the frog – is on stage, there is also a cartoon frog on the screen. Additionally, one of the two screens unfortunately failed about 30 minutes into the show, showing an error sign, which was eventually turned off and had to be fixed during intermission. Of course, technical errors happen all the time, but it seemed like an avoidable issue when, with the intimate stage, strong props, and solid blocking, the set design works just fine on its own. 

The other background elements work well. At times, the stage feels crowded, but this claustrophobia works with the tone of the musical. There were a few moments of stillness, but for the most part, Saunders’ direction and Crystal Aldamuy’s choreography works at ensuring there’s movement across the stage. Further, the lighting, also led by Faulds, keeps the stage and characters consistently well-lit. The live band is fantastic, and the sound—managed by Dean McCaughan—is overall good. The balance of the live music and the singing is great; however, when many people are singing at once in background, the central solo can be hard to understand. In terms of costuming, Andie Nicks picks outfits that all seem appropriate to the respective characters. A highlight is Mr. Bungee, whose green suit, multicolored vest, and frog head fit the character perfectly. A weak point is the Homeless Lady’s clothes that, while good in general styling, are far too pristine for a homeless woman: unwrinkled and unstained.

 When this show shines, though, it really shines, and the highlight of this show is, without a doubt, the singing. The production had a vocal coach (Lou Boeschen), and it shows. Nearly all notes are hit (with a few occasional weak soprano notes), most of the actors’ notes are consistently supported, and the harmonies are fantastic. Similarly, the acting is good, though not as stellar as the vocals. The actors are overall better singular versus together, with chemistry being a weaker point. This being said, each actor brings a special take to their relative character that makes each one a joy to watch on stage. 

Taylor Diveley as Gordon is great as main character—strong on vocals with good comedic timing. He often uses micro expressions that shine among Gordon’s typically flat affect, and he does a good job of building his expressions as the character grows over the production. The mom, Mimi (Kathy Seppamaki), and the best friend, Rhoda (Grace Farley), were good, but they didn’t stand out until their scenes in Gordon’s coma dream. The mom lacked some variation in emotion earlier in the show, but her tone of gentle acceptance in her final solo brought heart. Farley as Rhoda was fantastic in the puppet scene, showing prowess in facial expression, vocals, and body language—a definite show highlight.  

The nurses helped flesh out the humor and added variation. Heather Hinson, who plays the “thin nurse” (as well as the waitress and an assistant to Mr. Bungee) has great body language and is fun to watch on stage. Adai’shun Cook, who plays the “nice nurse,” is genuinely hilarious and really plays with his voice as instrument—though sometimes he can be a bit hard to understand. Gordon’s boyfriend, Roger (Craig Allen), serves as a nice foil to Gordon, and Allen does a good job at embodying the character—particularly during the “Sailing” scene—but the audience may end up wishing for a stronger connection between the couple. Pat Gagliano as the doctor and Mr. Bungee is solid at the former but really shines at the latter, with a sardonically honest take on the character that really works well. The Minister’s (Samuel Eli McWhite) presence feels very neutral on set, but his vocal prowess is evident.

The standout in the cast, however, is Sheldon Paschal as Lisa the Homeless Lady. Her facial expressions are fantastic, and she really knows how to play the crowd. She is in control of her body and her voice, and both her scenes breaking the fourth wall and interacting with characters on stage are strong. Her vocals were wonderfully supported, and she has a great mix with a light vibrato—her solo “Change” won several rounds of applause from the crowd.

Overall, this is a play with heart. Sound, lighting, set design, and blocking may not be standout but are solid—save for the screens. The individual characters feel understood, realized, and nuanced, even if the chemistry could have been worked on. Regardless, patrons are in for a treat in witnessing these vocals. Fans of the production should enjoy this local take, and those unfamiliar with the musical are still likely to find it a fun and worthwhile way to spend 2 hours of their weekend.

A message of Thanks from Cindi

It’s been a truly lovely week for the Jasper Project, and I wanted to take a moment to say thank you to so many individuals who contributed to our current state of grace.

On Thursday, the Jasper Project was honored by being awarded the Governor’s Award for the Humanities at the 32nd Annual South Carolina Awards in the Humanities Luncheon and Ceremony at the Pastides Alumni Center in Columbia’s Vista. It was an incredible joy to  accept this award on behalf of the Jasper Project’s Board of Directors, past and present. Thank you to Jon Tuttle, Ed Madden, Kirkland Smith, and Wilma Ruth King for your faith in us and for recommending the Jasper Project for this incredible honor.

The following explanation of our selection for this award was shared by SC Humanities:

After 25 years of serving as an adjunct instructor of Gender Studies and freelance writer for national magazines, in 2011, Cindi Boiter founded Jasper Magazine, a publication devoted strictly to arts in the South Carolina Midlands. As the magazine grew into a touchstone for a number of multidisciplinary arts projects commemorating events in SC’s cultural history, as well as projects like the journal Fall Lines – a literary convergence and the 2nd Act Film Project, the organization became a 501c3 in 2015. With a robust working board of directors, The Jasper Project has continued to create and facilitate innovative projects that meet the needs of state and local artists of all disciplines, such as Syzygy, the Supper Table, and Sheltered, while offering artists support, promotion, and the validation to say, “I am an artist!” The Jasper Project is a true grassroots organization with no paid employees and little overhead. Both Boiter and the board of directors serve the extended community of SC artists as a labor of love. Boiter is a six-time recipient of the SC Fiction Project, winner of the Piccolo Fiction Project, the Porter Fleming Award for fiction, the 2014 Recipient of the SC Governor’s Award for the Arts (formerly the Verner Award), and the 2018 recipient of Richland Library’s Lucy Hampton Bostick Award. She is the cofounder, with her husband Dr. Bob Jolley, of Muddy Ford Press, has written or edited more than ten books and is the editor of Jasper Magazine and co-editor of Fall Lines – a literary convergence.

As the above clearly demonstrates, the strength of the Jasper Project comes from our hardworking board of directors – a group of individuals who have internalized the ideal of service to one’s community. This same cadre of artists and arts lovers were on deck Friday night when we released the fall 2023 issue of Jasper Magazine at the Ernest A. Finney, Jr. Cultural Arts Center.

We are incredibly appreciative of the hospitality of our host Professor Nikky Finney, the author of On Wings Made of Gauze; Rice; The World Is Round; and Head Off & Split, which won the National Book Award for Poetry in 2011. Her newest collection of poems, Love Child’s Hotbed of Occasional Poetry, was released in 2020. Finney is Carolina Distinguished Professor at USC in Columbia where she is also Director of the Ernest A. Finney Jr. Cultural Arts Center. Despite her distinguished career and accolades, Professor Finney demonstrated a hands-on philosophy and practice Friday night when she joined our team of board members, interns, and volunteers in set-up and break-down for the event, lugging tables and chairs and even digging through trash to prepare recycling more properly for the center.

Thank you, Professor Finney, for your hospitality and generosity of spirit. It is good to be on the same team.

Other thanks are also in order.

Thank you to performers Lang Owen, TiffanyJ, and Ezymoonstones, and to Black Nerd Mafia for facilitating much of the performance.

Thank you to visual artists Anthony Lewis, Jordan Sheridan, Malik Greene, Benji Hicks , and Jean Lomasto for sharing your art with us.

Thank you to board members extraordinaire Bert Easter, Keith Tolen, Kimber Carpenter, Loli Munoz, Wade Sellers, Emily Moffitt, Christina Xan, and Rebekah Rice for set-up and break-down at the event, and to intern Liz Stalker for all her help, too. Thank you to Kristine Cobb and Al Black for being on deck as well as to Jon Tuttle, Libby Campbell, and Laura Garner Hine for being with us in spirit. Working with these loving and kind individuals is one of the greatest joys of my life. Their dedication to something larger than themselves restores my faith in humanity every time I have the pleasure of their company.

Thank you to our guild members and organizations who help sponsor the publication of  Jasper Magazine with their ads among the pages. This includes, Columbia Museum of Art, the Koger Center for the Arts. Columbia Arts Academy, Harbison Theatre, the Palmetto Opera, and the University of South Carolina’s Department of Theatre and Dance. Please remember these important institutions as you select how you will spend your arts and culture time and dollars.

Thank you to the contributors to this issue of Jasper Magazine, especially art director Brian Harmon, music editor Kevin Oliver, poetry editor Ed Madden, theatre editor Libby Campbell, and film editor Wade Sellers.

Thank you to the artists whose stories are included within the pages of this issue of Jasper Magazine. There are too many to list here as, at 76 pages, this is our largest issue to date.

Finally, thank you all for your kind support of the Jasper Project. If you aren’t already, please consider becoming a member of the Jasper Project Guild. We would love to have you as a member of the Jasper family.

All the best,

Cindi Boiter

executive director, the Jasper Project

 (Apologies to anyone whose contribution I failed to mention — please know that you are appreciated.)

TIM CONROY's New Book NO TRUE ROUTE Launches Tuesday Oct. 24th at BAR NONE in 5 Points! Read Conroy's interview by MIHO KINNAS & Join Us at Bar None!

Poetry grounds us to the ordinary miracles around us - Tim Conroy

Tim Conroy’s second collection of poetry, No True Route (Muddy Ford Press, 2023) launches Tuesday night, October 24th at Bar None in 5 Points at 6 pm.

Tim Conroy is a poet and former educator. His work has been published in journals, magazines, and compilations, including Fall Lines, Auntie Bellum, Blue Mountain Review, Jasper, Marked by the Water, and Our Prince of Scribes: Writers Remember Pat Conroy. In 2017, Muddy Ford Press published his first book of poetry, Theologies of Terrain, edited by Columbia, South Carolina, poet laureate Ed Madden. A founding board member of the Pat Conroy Literary Center established in his brother’s honor, Tim Conroy lives in Florida.

Advance Praise for No True Route:

Poetry at its best gives the head and heart direction. In No True Route, Tim Conroy sends us straightaway to his life's truths, as he feels them. Words bitter, sweet, brutal, and blunt -- but always beautifully spun, make this intensely personal and pathfinding work worthy of taking along on your own journey. -- J. Drew Lanham, author of Sparrow Envy - Field Guide to Birds and Lesser Beasts 

“How not to be a body / suspended alone”: in poem after poem, Tim Conroy’s No True Route investigates that state of potential isolation, of fatal disconnection narrowly avoided… this “rope knotted to adolescence,” becomes for Conroy a life-line. “Do you recall the moment you first belonged?,” he asks, and the question – amid these “oyster cuts of memory” – is satisfyingly both poignant and affirming. -- Nathalie Anderson, author of Held and Firmly Bound and Stain 

Tim Conroy's second collection, No True Route, continues self-investigation from his past that began in his first book, Theologies of Terrain. Through personal and poetic journeys, the poems have gained more profound insights into the heaviness of life's burden and the possible ways to lightness. -- Miho Kinnas, author of Waiting for Sunset to Bury Red Camellias, Move Over, Bird, and Today, Fish Only.

~~~~~

Interview Question from poet Miho Kinnas, author of Waiting for Sunset to Bury Red Camellias (2023, Free Verse Press), Move Over, Bird (2019), and Today, Fish Only (2019) from Math Paper Press.

What was it like to put together the second collection?

The second collection, No True Route, took six years of writing, revision, and difficult choices. Ed Madden, former poet Laureate of Columbia, South Carolina, helped me hone and order the poems. I am fortunate to continue to work with Muddy Ford Press and publishers Cindi Boiter and Bob Jolley, who have an unyielding ethic to connect regional writers with a community of readers. I hope readers find the poem in the collection meant for them. Or better yet, they will pick up a pen and write poems about their journeys. In No True Route, some poems express loss, brokenness, strength, and how we hold onto each other. Memories can fool and change us. My brother, Pat, would have recognized these themes in the collection as familiar terrain.

How did the changes in your life (retiring, moving to Florida) affect your writing?

COVID and Moving and Loss sharpened my perception of time and how we live during periods of significant change. One thing I tried to write about because of this change was that no matter where you live, you must never hide or forget your deceased family and friends. It is perilous to deny their presence in our lives.

What poetry are you reading now?

I have been reading and searching for poems with spiritual themes for a project. It is an attempt at an existential spiritual search questioning our relationship to the Divine in all our metaphors of beliefs and doubts. My Genesis or creation poem to enter this discussion is Ode to Dirt by Sharon Olds, then Ode to the Clothesline by Kwame Dawes, an excerpt from the Song of Solomon, Ask Me by William Stafford, Have You Prayed? by Li-Young Lee, Upstairs the Eulogy, Downstairs the Rummage Sale by Yehoshua November, A Violin at Dusk by Lizette Woodworth Reese, The Vast Ocean Begins Just Outside Our Church: The Eucharist by Mary Oliver, Kerr’s Ass by Patrick Kavanaugh, The Call by Ron Rash, A Prayer by Max Errman and Thank You by Ross Gay.

But I am still collecting and refining. I don’t know the shape of the final product, but I will hold “poetry worship” services using these poems where the poets are priests. The congregation will read these poems and explore the human need for something after death and an explanation of divinity. After all, we are “muckers” searching for the Kavanaugh’s “God of imagination.” Perhaps my poem in No True Route, Visitation, fits this mold. 

Why Poetry Matters. Figurative language is how we make sense of our creation, our moment. Poetry compromises the text of all faiths and beliefs. Poetry explores the ground of being like a hungry mole cricket. It’s the stirring language of the Cosmos and the soup spoon. It rises from dirt to sunflower to hearts. Poetry is our first and last breath in our brief lives of verses. Poetry grounds us to the ordinary miracles around us. But I warn you, it’s a mouse in the hole trembling to rush out to nibble on a crumb; satisfying, so risky.

Poetry of the People with Ron Digga Baxter

This week's Poet of the People is Ron (Digga) Baxter.  When Digga hits the mic it's all about lyric and flow  - word combinations jar and caress in alternating rhythms.  When it's over you ask for more.

Ron "Digga" Baxter is a native of New York, currently residing in Columbia, South Carolina. He graduated from South Carolina State University with a bachelor's degree in Professional English. Ron is no stranger to the Spoken Word community. He was Vice President of a Columbia based poetry club named Parallel World and a member of the Black On Black Rhyme poetry club. Ron is a student of the human condition, welding the written craft to enrapture the mind much like an artist wields a brush.

NERD POEM

The last of a dying breed

Evolution of a race that fought to be freed

I’m the dark elf ripped from the empire forest

Possessed by the chorus of a nymph

My story carved upon Egyptian hieroglyph

Drowned in the mystery of Atlantis history

And the fictional characters of Disney

Read only by Arielle & Triton

Resurrected by the Kraken

Reborn like the fallen phoenix

I’m a dark elf!

See, that’s knowledge of self

And this - this not a fucking fairy tale!

No board pieces but there are dungeons with dragons

I’ve seen the leprechauns potato famine & locked in jail

Robbed of their gold; stories still untold

The Cyclops clan prepared for death

Chased by ogres ‘til there was none left

Even watched giants gasp for breath

No bravery from a slingshot & rock

Just the Brothers grim with an automatic glock

Nobody lives happily ever after!

Life is a disaster filled with laughter

Mocked constantly by a crying jester

Cause he knows… there is no god!

Aslan is a has been

Ever since Caspian’s people spread across the land

My father was a dwarf obsessed with snow white

My sister sniped down by cupid’s arrow

Finally my epiphany when the industry

Began to manipulate my people’s chemistry

Turning Elves into Orcs

Willingly worshiping white wizards!

Forced my tribe to live in a hole.

My wife violently raped by a troll.

Her children bred into gnomes.

Forced to stab them in the chest w/ the horn of a unicorn.

After they were born

Watched as the druids got crucified,

Their halfling savior thrice denied.

Listened to the trees cry out in disdain.

The forest was the first to feel her pain.

Paved over by concrete & cement.

Turned our cheek as the world went Hell bent.

Watched the Smurfs become addicted to mushrooms.

Gandalf and Harry potter committed sacrilege.

While Ogres ban the fairies from marriage

Trembling gremlin eating after midnight.

Mischievous morphing members of the night 

And only I had the courage to fight

See, my mentor a centaur,

Primed for war like a Vietnam tour.

Taught me to pick up the broad sword,

Swing with all my might

Storm the dark castle

And defeat the Grand Wizard in battle

I am a dark elf!

LIVE-EVIL 

My soul is black…

Black as tar pit drowning a T-Rex

Witch’s hex, bird feather, dragon’s tooth

The TRUTH! You can’t handle the truth.

Jack Nicholson sipping gin in Eastwick

I give witches my ass to kiss

Playing Tavis’s cd backwards

I’m blasphemous.

Born of a jackal I cackle like a hag

Bay at the moon, gloom & doom

Your precious soul stuffed in a bag

Or maybe it’s just figment of your imagination

Dance in a circle speak in tongues like a Haitian

Yah meyjan pieces may bunga la dabbed

Scream when your voodoo doll gets stabbed

I’m Al Pacino playing Devil’s Advocate

Smacking Keanu around like Morpheus

But you… call me Morbius if you like!

Ask Yahweh he doesn’t really want to fight

He just wants to hang around… (sign of cross)

Saying daddy’s crossed at me

No wonder I set ablaze to the town

Singe my wings with needful things

Poured blood into the sea blending of chi…

Yang & Ying ending bending reality but actually

Free flowing, like the validity of the holy trinity

Ain’t shit to me- sin to be makes sense to me

                And I LOVE poets!

I’m the anxiety that makes it harder to breathe,

Tortured souls trapped in cages life on stages

Magic like mages wand waving words like wisdom…

Wise & dumb

Take a bite of my knowledge apple!

21st century I’ll blend it up call it Snapple

Crackle pop like dark elves feeding children a bowl

Serial killers is what I behold… toss a body n a hole

Let’s get really dirty… set off an atom bomb

WMD’s just ask Saddam; read the Quran

Temp you to smack a bitch, skinny-dip in my fire pit

Stare into the black abyss, dismiss your simple bliss

I’ll send you a telegram of a pentagram. GODDAMN!

You still want to know who I am.

I’m the Kennedy assassin, babysitter to Michael Jackson, shadowy clouds everlasting!

Acid rain, father of Cain. Trenchcoat mafia; call me insane.

And you still want to know my name?

To make my words clearer take a look in the mirror.

APOCOLYPSE

The worlds got to be coming to an end

Revelation told thru Nostradamus pen

Words bend the wind like they never did back then

Timeless tornados trample thru trees tearing & twistin the timber

This is the foretold December we’ll always remember

And why December, Just seems fit that the last days come in da winter

Natures picked up on what the humans don’t know

Ever wonder why the flowers don’t grow

Why bears bear the pretend death state when they hibernate

Why birds cross the border when they migrate

Enter the center of Hell’s gate.

Where the poisons are all in what we ate

Salmonella is known to kill ya

See, the birds knew about the bird flu

Ask me how; info came from the mad cow

And vegetarians ain’t got it so great

Eating tofu trying to escape

 Just take a look at what’s on your plate

Even the fruits are injected with a steroid

Everyone looking like I’m the one paranoid

And me! I’m just a mouthpiece but I’m here to tell ‘um

A cell phone can give you cancer of the cerebellum

And power lines can give you a tumor

Check the statistics this is more than rumor

And I feel like I’m ranting but that’s ok

Sometimes you need more than two minutes to say what you got to say.

And is it much of surprise, millions in Africa dying of aids

But Magic Johnson is on vacation in the everglades

Say the world’s going to hell in a hand basket

Makes sense all my role models are in a casket

Malcolm, Martin, and Marcus Garvey

Taught me to be proud of who I be

Biggie, 2Pac, and Bob Marley

Taught me to speak out lyrically

Hell you might laugh when I say there’s no hope

But you tell me how else can an ex-nazi become the pope

And heaven knows there can be only one conclusion

Prepare for revolution of evolution

As nature gets rid of the pollution of humankind’s institution.

The Preacher’s Poem

She says she wants passion

Heated eyes filled with lust and desire

I’m not interested in containing this fire

Usher in the inferno and let it burn

Pure pyromaniac perplexed by perfection

Like a prideful pharaoh

My goal is to sculpt precision

That mirrors a vision of infinity

Yes… I can give you passion

But I want to fulfill your spirituality

Because even in the dark I can see

My third eye never needed glasses

Always had 20/20 insight

Because I knew what I was looking for 20 years ago

My genesis includes restlessness of exodus

And I’ve been left searching

Seeking spirituality like whispered secrets of the universe

Let me read you a verse from Solomon

Where a solo man finds a true lover

Uncover the linear language of love

Complex yet simple like algebra and arithmetic

Because you plus me equal destiny

And I’ve never been good at math

Just be my divine denominator

Because I don’t think this eternal equation

Ends in X to the second power

It’s no secret I’ve been hurt

Hunted by deities and demons

Too many fairytale sleeping princesses

And clipped winged angels who ain’t

To pretend I’m a godly saint

Cause woman is holier than man

And I’ve worshipped your every hole

So anoint me with your kiss

Take the risk… hand in hand

Lead me to the promise land

And let me love you like you deserve to be loved

REVIEW: Stilt Girl Chapin Theatre Company

Izzy's dream is to make it in New York, but ever since an “incident" at an audition, auditions have dried up.  She eeks by on a part-time job at a cleaning company and has just discovered she’s been temporarily evicted from her roommate’s sofa. When she realizes the condo she and her bestie Jonathan (oops, “Stephon”) are cleaning, she comes up with the notion to spend the week in the condo, with the rationale that she'll deep clean the place during her stay. When Tina and Debi and their friend Therese arrive quite unexpectedly from Atlanta to celebrate their five-year survival of breast cancer, hilarity ensues, but so does a delightful evening of friendship, confession, optimism, and charm.

Zanna Mills’ Izzy is delightful to watch. Mills’ timing, and her skill at physical comedy – even when she’s stock still – is excellent. Her “floor work” is hysterical. Josh Kern is fabulous as Jonathan/Stephon. He throws himself into a belly dancing routine which had me truly laughing aloud, and that doesn’t happen too often. Debra Haines Kiser and Jane Turner Peterson play Atlanta bosom buddies Debi and Tina and it’s easy to believe these two have been friends for life. Their timing, their commitment to character, and their ability to toss off delicious throwaway lines is excellent. Jane Turner Peterson is a theatrical gem and it’s good to see her getting back onstage after a long absence. Her face is made of rubber, and she is fearless in her actions and reactions. She completely embraces her inner #ShimmyChick. She is gleeful. Jacob Cordes is Debi’s grandson, Max. His transformation from a concerned, uber-cautious grandson to someone willing to loosen up and “go with the flow” is seamless.

Jami Carr Harrington was certainly gifted with an excellent troupe of actors to bring Lou Clyde’s play to life. Working to put an original piece onstage is no easy task but these artists have succeeded in producing a delightful evening of theatre. Corey Langley’s set is exactly as a generic New York City Airbnb condo would look. The décor is perfectly bland and modern, except for one specific piece of décor which you won’t be able to miss.

There were a few times when volume was an issue. The theatre is small, and the audience seating is almost an extension of the stage so it’s easy to fall into a more conversational volume. I was seated in the middle of the house so I imagine some in the back row might have had difficulty hearing some of the dialogue. There were some scene changes when the music stopped rather abruptly when the lights came back up; a fadeout would have been more effective and less jarring. The Mancini was perfectI must confess I was pleasantly surprised. I fully expected Stilt Girl to be yet another Steel Magnolias knock-off about Southern Women of a certain age. I was dead wrong. There is nothing stereotypical about Lou Clyde’s script nor the characters these actors have so deftly brought to life. I regret that scheduling didn’t allow me to see the show earlier in its run. There are only 3 performances left, and the brevity of this piece is to allow this to be published in time for more readers to see it and made the decision to spend an evening in Chapin this weekend. The house seats 82, and there were only 5 empty chairs last night. The show lasts 2 hours, including a 15-minute intermission.

It is a drive, not gonna lie. Give yourself plenty of time to get there for the 7:30 curtain. There is a lot of construction on I-26 (quelle surprise), there are lots of orange and white barrels, and it’s dark out there! Wine is available for a donation, so do bring a little piece of money. The theatre is also taking donations for the South Carolina Oncology Association, which makes funds available to women who are unable to pay for cancer treatment.

Stilt Girl plays tonight and tomorrow night at 7:30 p.m., and on Sunday afternoon at 3:00 p.m.

Exhibit Reception for Jaime Misenheimer’s “Moon Crush” at the Koger Center

The Koger Center for the Arts has housed the work of Jaime Misenheimer since late September in their Upstairs Gallery. Misenheimer’s latest exhibit, Moon Crush, is a collection of paintings that are not only inspired by her life growing up in Oklahoma, but also by her time on the set of Killers of the Flower Moon, the new Martin Scorsese film based on the eponymous nonfiction novel. Misenheimer helped with set design for several scenes in the film and worked as a background actress. On November 1, from 6 to 7:30 p.m., the Koger Center will host an exhibit reception to celebrate the work of Misenheimer and to commemorate the first day of National Native American Heritage Month.

A graduate of the Hoffberger School of Painting at the Maryland Institute College of Art in Baltimore, and the University of South Carolina, Misenheimer creates multi-disciplinary works, often from her memory. She is a native Oklahoman and member of the Choctaw Nation; her experiences working across cultures and disciplines continue to lead her to new questions and practices. The exhibition includes over 50 of Misenheimer’s pieces from 2019 to the present, ranging from small waterscapes like her piece Tvshkahomma to the massive Blizzard, a 98” tall, abstracted piece on linen. Misenheimer also created a mural exclusive to this exhibit on the glass windows of the Upstairs Gallery, evoking a different sense of place in the viewer depending on the time of day they look at it.

The reception is free and open to the public. Light fare and drinks will be available during the event, and Misenheimer will be present for all interested parties to talk to about her portfolio, intentions behind this collection, and other artistic endeavors. For more information, contact the Koger Center at (803) 777-7500.

"Moon Crush” artist statement: Moon Crush is a love letter to my home, featuring local flora and fauna like deer, catfish, and roadrunners. My work often explores the contrast between the inner and outer worlds we inhabit. In this collection, my focus is on the outer world, and sensory memories of it, capturing careful moments such as moonrise or heat, a particular bend in a tree, or the cool shapes around a sleeping dog. As a Choctaw citizen living in present day Oklahoma, my identity is deeply intertwined with the land. "Moon Crush" is a collection of paintings that also explores my relationship with nature through careful observations. Working from life and outside, each brushstroke captures a moment that is both personal and universal. Through this collection, I hope to share my connection to the land and honor the Choctaw people's legacy of reverence for our relatives, animals, and the natural world. With each painting, I endeavored to evoke the experience of being in nature - the sounds, smells, and colors that surround us in everyday life.