Loading Video . . . This contemplative piece by composer Pascal Le Boeuf explores the theme the morality of eavesdropping and the following verses: Ecclesiastes 7:21 ESV Do not take to heart all the things that people say, lest you hear your servant cursing you. Luke 12:3 ESV Therefore whatever you have said in the dark shall be heard in the light, and what you have whispered in private rooms shall be proclaimed on the housetops. 1 Corinthians 5:12 ESV For what have I to do with judging outsiders? Is it not those inside the church whom you are to judge? Ecclesiastes 7:21 Luke 12:3 1 Corinthians 5:12 outside listenINg By Pascal Le Boeuf Credits: Written and Recorded by Pascal Le Boeuf Artist Location: New York City Curated by: Ashley Gonzalez Daneman and Benje Daneman 2014 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link As an atheist I consider the Bible to be an inspirational work of art. A work of art that has moved enough people to define many aspects of western culture or at the very least, the framework upon which many choose to base their goals, social behaviors and self-conceptions. I am proud to be a part of a project that builds a community through creative expression. The composition "outside listenINg" explores the moral implications of eavesdropping by using piano and string quartet to represent the subject and the eavesdropper respectively. This analogy is accentuated by disparate approaches to recording production in which each part functions as a separate composition: the "subject" a new original work and the "eavesdropper" derived from the string part of an earlier composition ("Calgary Clouds" from the Le Boeuf Brothers' album, "In Praise of Shadows"). The goal of this piece is to guide the listener to question the morality of eavesdropping and how it effects our daily lives. Spark Notes The Artist's Reflection Described as “sleek, new” and “hyper-fluent” by the New York Times, Pascal Le Boeuf is an EMMY award-winning pianist-composer and electronic artist whose interests range from modern improvised music to cross-breeding classical with production-based technology. Le Boeuf’s most recent awards include his eighth Herb Albert ASCAP Young Composers Award (2013) and a New Jazz Works Commission from Chamber Music America (2011) to be recorded in 2014 by JACK Quartet. In 2012, his music was awarded “Best Electronica Song” and “Best Eclectic Song” by the Independent Music Awards for remixes of his compositions. He was also nominated for “Best Keyboardist” in the 2012 Downbeat International Readers Polls, composed music for the 2008 Emmy Award-winning movie King Lines, and won first place in the 2008 International Songwriting Competition. Le Boeuf has released eight albums as a leader; his most recent, King Pony (2014) features collaborations with rock guitarists Billy Norris (Gavin DeGraw), Adam Levy (Norah Jones) and Armand Hirsch (Bobby McFerrin). Previous albums include House Without a Door (2009), In Praise of Shadows (2011) and Remixed (2013) – the acclaimed electronic follow-up to In Praise of Shadows featuring the Le Boeuf Brothers ensemble. The 2013 release of Pascal’s Triangle (Linda Oh, bass; Justin Brown, drums) was described by the New York Times as “reaching for the gleaming cosmopolitanism of our present era.” In 2010, Le Boeuf made his Blue Note debut opening for Chick Corea as part of the Blue Note Emerging Artist Series. His many collaborators include the the Myth Quartet, Ambrose Akinmusire, Justin Brown, Harish Raghavan, Ian Rosenbaum and Andy Akiho; choreographers Ernest Felton Baker II and Raymond Pinto; and poet/lyricists Jane Resnick, James Sprang, Emily Greene and Kate Davis. In collaboration with Emmy/Grammy nominated composer David Schwartz of the hit television series Arrested Development, Le Boeuf’s music was featured on NBC’s 2011 drama The Playboy Club. His compositions have been performed and featured by members of Bang on a Can All-Stars, JACK Quartet, Turtle Island Quartet, Sirius Quartet, RighteousGIRLS, Downtown Avengers, Imagine Dragons, Foundry and the Chamber Music Society of Lincoln Center Two. In 2010 and 2011, Le Boeuf was commissioned by the National Foundation for Advancement in the Arts to compose music for a multi-interdisciplinary performance (music/words/video/dance) at the the Gusman Center for the Performing Arts in Miami, FL to honor Bill T. Jones, Desmond Richardson, Kerry Washington and Liv Ullmann. Loosely based on writings and themes of Leonard Bernstein and Aaron Copeland respectively, these compositions highlighted live music performers in conjunction with computer manipulated recordings of the performers, scored recordings of Bernstein/Copeland speaking about music, and directed improvisation based on dance. His unique style and musical inspiration stem from exploring many genres of music, helping him challenge the boundaries of composition. Over the past five years, he has received grants from the National Foundation for Advancement in the Arts, Chamber Music America and the New York Community Trust via the Edward & Sally Van Lier Fellowship Grant. The multi-rhythmic sound of Le Boeuf’s music has reached a diverse range of listeners in venues such as the Kennedy Center, Lincoln Center for the Performing Arts, the DiMenna Center for Classical Music, the Monterey Jazz Festival, and the Umbria Jazz Festival. His music can be heard on Universal/Alma Records, Nineteen-Eight Records, ESC Records, FrameMusic and Capri Records. Le Boeuf received his B.M. and M.M. (with honors) from the Manhattan School of Music and double-majored in Electronic Production/Design, and Songwriting at the Berklee College of Music. Principle teachers include Kenny Barron, Garry Dial and Theo Bleckmann. As an educator, Le Boeuf has served on faculty at the Manhattan School of Music Summer Program, the Stanford Jazz Workshop and functioned as co-director of the 1990 Institute in Beijing, China. Website Pascal Le Boeuf About the Artist Pascal Le Boeuf Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Resident Artist Emily Ruth Hazel’s new poem in response to the theme of “Lies” and Genesis 2:21-25, 3:1–13; John 3:8; 18:37–38; Ephesians 5:25-33 and Revelation 22:17 as she builds a poetry collection responding to every theme from the year as a 2013 Spark+Echo Artist in Residence. Genesis 2:21-25 Genesis 3:1–5 Genesis 3:7–13 John 3:8 John 18:37–38 Ephesians 5:26–33 Revelation 22:17 Runaway By Emily Ruth Hazel Credits: Curated by: Spark+Echo Arts, 2013 Artist in Residence 2013 Poetry/Spoken Word Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link As with the first three themes of the year, which I found myself defining by contrast—Light and Darkness were intertwined, the theme of Fools led me to write about wisdom, and Dancing was set in relief against grief—the theme of Lies inspired me to explore the alternatives, honesty and truth. Under the many layers we wear, there is an opportunity for daring vulnerability and naked authenticity. The truth of who we are, and of who God is, is not as simple or as flat as it is often presented or misunderstood to be; deeper truths are always multifaceted. In “Runaway,” I wanted to take a closer look not only at our human tendency to run away—from truth, among other things—but also at how God has different qualities of a runaway, being hard to tie down and moving unexpectedly. This got me thinking about our human strategies for trying to make sense of our world and of the spiritual realm, and how religion can come close to articulating these things but sometimes misses the point entirely. Since subtle masks and readily accepted myths can be just as dangerous and destructive as overt lies, if not more so, I wanted to offer a poem that could acknowledge a few misconceptions about Christianity and some of the contradictions within the global and historical Church, which are troubling to me. When I began delving into the chain reaction of deception and hiding just a few pages into Genesis, I was surprised to discover a direct connection between that text and the New Testament passage I had already had in mind to respond to (Ephesians 5:25–33), which quotes a line from Genesis about the mystery of marriage. I’m intrigued that the Apostle Paul chooses the metaphor of marriage—perhaps the most complex and intimate of human relationships—to depict the relationship between God and the Church. It was this image that became my starting point for taking off some of the layers. Spark Notes The Artist's Reflection Emily Ruth Hazel is a poet, writer, and cross-pollinator who is passionate about diversifying the audience for poetry and giving voice to people who have been marginalized. Selected as the Honorary Poet for the 25th Annual Langston Hughes Community Poetry Reading in Providence, Rhode Island, she presented a commissioned tribute to the Poet Laureate of Harlem in February of 2020. She is a two-time recipient of national Dorothy Sargent Rosenberg Poetry Prizes and was awarded a National Endowment for the Arts Fellowship for a residency at The Hambidge Center in 2014. Her chapbook, Body & Soul (Finishing Line Press, 2005) , was a New Women’s Voices finalist. Emily’s work has appeared in numerous anthologies, magazines, literary journals, and digital projects, including Kinfolks: A Journal of Black Expression and Magnolia: A Journal of Women’s Socially Engaged Literature. Her poetry has also been featured on music albums, in a hair salon art installation, and in a science museum exhibition. Emily has written more than twenty commissioned works for organizations, arts productions, social justice projects, and private clients. Currently, she is developing several poetry book manuscripts and writing lyrics for an original musical inspired by the life of the extraordinary singer and Civil Rights icon Marian Anderson. A graduate of Oberlin College’s Creative Writing Program and a former New Yorker, she is now based in the Los Angeles area. EmilyRuthHazel.com Instagram: @EmilyRuthHazel Facebook.com/EmilyRuthHazel Website Emily Ruth Hazel About the Artist Artist in Residence 2013, Emily Ruth Hazel Word of Mouth In the Wake of the Storm Circling the Waist of Wisdom Give Me a Name Homecoming Give Us This Day Undressing Prayer Emily Ruth Hazel Other Works By Explore the other works composed throughout the year in Emily's poetry collection, created as a 2013 Artist in Residence . Explore her works created throughout the year: “In the Wake of the Storm” LIGHT AND DARKNESS (JANUARY 21, 2013) “Circling the Waist of Wisdom” FOOLS (APRIL 26, 2013) “Homecoming” DANCING (JUNE 27, 2013) “Runaway” LIES (AUGUST 8, 2013) “Give Us This Day” HARVEST (NOVEMBER 14, 2013) “Undressing Prayer” MEMORY (JANUARY 6, 2013) Artists in Residence Spark+Echo Artists in Residence spend a year developing and creating a major work in response to Scripture. Click on their names to view their projects. Current Artists in Residence Spark+Echo Arts seeks to develop and support communities of artists who engage with and create in response to the Bible. Due to the impacts of COVID-19 and some internal changes, we decided to pause the Artist in Residency for a year so that we could regroup our resources. Our hope is to continue offering this opportunity in 2021. Previous Artists in Residence 2020 Sapient Soul, Marlanda Dekine (Poetry + Spoken Word) 2019 Lancelot Schaubert (Short Story) 2018 Elias Popa (Installation Art) 2017 Aaron Beaumont (Music), Lily Maase (Music) 2016 Ebitenyefa Baralaye (Visual Art), Chris Knight (Film), Lauren Ferebee (Theatre), Stephanie Miracle (Dance) 2015 Benje Daneman (Music), Jason DaSilva (Film), Melissa Beck (Visual Art), Don Nguyen (Theatre), Christine Suarez (Dance), The Spark & Echo Band (Music) 2013 Nicora Gangi (Visual Art), Emily Ruth Hazel (Poetry) Related Information View More Art Make More Art The Church is a conflicted bride, her face flushed with passion, her thoughts laced with doubt. Home, to her, has never been a single street address. View Full Written Work Runaway by Emily Ruth Hazel 1 The Church is a conflicted bride, her face flushed with passion, her thoughts laced with doubt. Home, to her, has never been a single street address. She lives everywhere, a temple built of flesh instead of stone, a body with a mind and a will of her own, her heart not only red but also blue and independent, her spirit both radiant and restless. How far she has wandered, dragging the train of her newly washed dress through sewage-flooded gutters. When she returns, ready to change, grace attends her, fingers gently combing out the tangle of her hair, patiently undoing seven times seventy buttons. But legalism has one narrow foot braced against the Church’s back, two hands yanking taut the laces of a corset made from the bones of faith, that great, endangered mystery that swims beneath the surface. Perhaps this undergirding was designed for the body, to shape and support, but it digs into her skin, pressing her inmost parts to conform to its constraints. Breath held captive, the bride anxiously waits to be untied, Pilate’s questioning of Christ reverberating through her centuries later—What is truth? This far from paradise, knowing good and intimate with evil, how could her heart ever again be naked without shame? What would she look like if she lost the fig leaf lingerie? What if she continued the long walk down the aisle, eyes fixed on her first love, confessing all her uncertainties— would God still have her? 2 Born hungry, we feed each other false hopes like the warm milk of a lullaby. Having outlived the famine years, we think we are finally wise and bite into the red delicious of deception, handing it off to our partners. The growl grows louder. A tribe of exiles and runaways, we are all in the same soup line, but we front as if we’re in the queue to enter an elite club where God is a brass-knuckled bouncer letting in only those who pay or charm their way inside. Angling for VIP passes, we bleach our teeth with white lies, wear pretense like concealer, sweep shades of embellishment in all the right places. We flaunt our faux diamonds and flash our fake ID. Fully knowing who we are, knowing that we can’t afford the cover, the host at the door waves us in and offers us a bowl and spoon. We grab what is given with one hand, the other hand already reaching back to draw the invisible velvet cord across the path behind us: we want to be the first inside and the last to make the cut. 3 Measuring our steps like a barefoot bride who wears a borrowed spoon dangling from her necklace, what is it we are limping toward? Eden is a memory of the scent of apple blossoms. What do we have left, we ask, that we have not created for ourselves? Our fingerprints on everything, by this time, who can tell how much of religion is manmade? The river of life that streams from heaven has been dammed and redirected, human calculations managing the flow, interrupting natural rhythms. From the spinning belly of the same truck out of which that wall was born, poured as a thick, gray river of our own, we have built a semblance of refuge on the shore. Easily sold on the invention of that which is concrete— a substance that grows stronger as it ages—who can blame humanity for mixing with cement our aggregate beliefs? We manufacture cinder blocks of knowledge weighty enough to withstand minor disasters, but never too heavy to lift alone. Stacking rules upon rituals, long ago, we tried to build a tower that would scrape away the blue, leave a keyhole in the sky so we could see beyond, but our tongues divided us; our ladders toppled. Among our tall attempts, we have landscaped a courtyard instead, an echo of the garden we once knew, then sealed it with a glass roof more transparent than our prayers, turning the open space into yet another structure to contain the wind, to cage our fear of what we can’t control. Everything within our reach we have domesticated. But what can we do with a wind that cannot be caught? Close Loading Video . . . The Church is a conflicted bride, her face flushed with passion, her thoughts laced with doubt. Home, to her, has never been a single street address. Download Full Written Work

Loading Video . . . In his work, Babbler, composer Jonathon Roberts combines the sounds of his toy Yamaha keyboard with lyrics warning against gossip from passages in the book of Proverbs: Proverbs 1:10; 4:24; 10:18; 11:13; 12:13; 14:7; 14:23; 16:28; 18:6-8, 20-21; 20:19; 24:1-2 Proverbs 18:6-8 Proverbs 16:28 Proverbs 12:13 Proverbs 14:7 Proverbs 11:13 Proverbs 10:18 Proverbs 14:23 Proverbs 4:24 Proverbs 1:10 Proverbs 18:20-21 Proverbs 20:19 Proverbs 24:1-2 Babbler By Jonathon Roberts Credits: Written, Composed, Performed, and Recorded by Jonathon MT Roberts. 2016 Curated by: Spark & Echo Arts 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link It was 1989, I was 8, and my father brought home from Toys R Us a Yamaha Portasound PSS-680 as a keyboard for the family. I loved it. It had 100 different sounds, 100 rhythms, drum pads, and coolest of all, a little synthesizer that allowed you to build and modify your own sounds. After a few years of heavy interest in the keyboard I was wooed by the traditional piano and its 88 fully-weighted keys. It wasn’t until I moved to NYC and joined the great absurdist comedy band The Renaldo The Ensemble that I fully appreciated the Portasound’s potential. For 5 years I carried my axe on the subway and played its crystal clear tones for late night crowds at the Living Room on the Lower East Side. I love just about everything about the Portasound, it’s mini-synthesizer, perfect portamento, the light feel of the keys, 5 octave range, aero-dynamic design, fully printed list of songs and styles on the case itself, MIDI outputs, and of course the demo–whoever composed this endless journey of a song should have been given a Grammy. Now with kids of my own, I don't play out as much. I enjoy the finer moments of home life. One of those is a chance to really explore the Portasound's extraordinary features. Another thing that I've explored more fully is the book of Proverbs. I love just about everything about this book as well. Its pithy comments, rants on wisdom, outlandish metaphors, timeless advice. Thus was born an ongoing project of mine, Portasound Proverbs , a collection of songs that explore two great things in my life, the book of Proverbs and the Yamaha Portasound. The project features sound and percussion entirely played from the Yamaha Portasound PSS-680 and lyrics entirely from the book of Proverbs. This tune, "Babbler," explores verses in Proverbs regarding gossip. By arpeggiating the bubbly sounded of the Portasound I am depicting the deceptive allure of gossip. The singing is focused and intense, and eventually devolves into desperation just like the gossips and babblers describes in Proverbs. The piece hinges on this verse: Proverbs 20:19 (NRSV) A gossip reveals secrets; therefore do not associate with a babbler. The rest of the lyrics are comprised of or adapted from others quote on gossip from Proverbs including: Proverbs 1:10 My son, if sinful men entice you, do not give in to them. Proverbs 4:24 Keep your mouth free of perversity; keep corrupt talk far from your lips. Proverbs 10:18 Whoever conceals hatred with lying lips and spreads slander is a fool. Proverbs 11:13 A gossip betrays a confidence, but a trustworthy person keeps a secret. Proverbs 12:13 Evildoers are trapped by their sinful talk, and so the innocent escape trouble. Proverbs 14:7 Stay away from a fool, for you will not find knowledge on their lips. Proverbs 14:23 All hard work brings a profit, but mere talk leads only to poverty. Proverbs 16:28 A perverse person stirs up conflict, and a gossip separates close friends. Proverbs 18:6-8 The lips of fools bring them strife, and their mouths invite a beating. The mouths of fools are their undoing, and their lips are a snare to their very lives. The words of a gossip are like choice morsels; they go down to the inmost parts. Proverbs 18:20-21 From the fruit of their mouth a person’s stomach is filled; with the harvest of their lips they are satisfied. The tongue has the power of life and death, and those who love it will eat its fruit. Proverbs 24:1-2 Do not envy the wicked, do not desire their company; for their hearts plot violence, and their lips talk about making trouble. Spark Notes The Artist's Reflection J onathon Roberts is a composer and sound designer for games, film, theatre, and ensembles. His style grew out of classical and jazz training, and evolved through quality life adventures: touring the country in an RV with a one person theater piece on the Apostle Paul, living in Brooklyn with an improv music ensemble, performing in a downtown NYC absurdist comedy band, and a long stint writing music for the renowned slot machine company, High 5 Games. He has released four albums including the latest, Cities a song cycle personifying biblical cities. He created the popular podcast/web series ComposerDad Vs. Bible , in which ComposerDad accepts intense compositional challenges from a mysterious Bible while out with his kids. He frequently collaborates on music and theater projects with his wife, actor Emily Clare Zempel. They live in Beacon, NY, with their two boys and a tangled box of electrical cords. www.jonathonroberts.com Website Jonathon Roberts About the Artist Loving Arms I Make Tents The Sower Response There Is Room These are My Sons Consider Me a Partner Weakness The Day Is Almost Here Surrogate Remember Me Prayer How Beautiful I Am a Fool The Constant Ecclesiastes Cows Blessing Fools for Christ More Than Rubies Only a Few Years Will Pass Dear Friend Jonathon Roberts Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

baralaye_sea_post-3_main.jpg Loading Video . . . Part 3: Follow the process for creating this piece for Artist in Residence 2016 Romans 9:20-26 Artist in Residence 2016, Ebitenyefa Baralaye – Part 3 By Ebitenyefa Baralaye Credits: Curated by: Spark & Echo Arts, Artist in Residence 2016 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link My third post finds me in a new home, San Francisco, after months of transition and life on the road. The line “Why have you made me like this?” from my selected passage has rung repeatedly in my mind over many hours taking stock of and packing all of my belongings (mostly my artwork and studio items) into storage in preparation for shipment. I have traversed the conceptual, physical and practical cost of everything I own, deciding what would be kept and what should be shed. Numerous times artworks intended for the glories of exhibition and acquisition have found their way to a dumpster and the odd relic of my past, uncovered from a tucked away box, was deemed too precious to depart with. The judgment of what is honorable or dishonorable, worthy of keeping or destroying, truly lies in the heart of its beholder and maker. The images included in this post catalog some items I have come across on my cross-country journey over the past two months of traveling and living on the road. Each has given me pause to consider how God uses simple and great things of creation for purposes beyond our expectations and awareness. Spark Notes The Artist's Reflection Ebitenyefa Baralaye is a ceramicist, sculptor and designer. He was born in Lagos, Nigeria, raised in Antigua and lives in the United States. Ebitenyefa received his BFA in Ceramics from the Rhode Island School of Design. His studio bases have included Long Island City, Queens; the Elizabeth Foundation for the Arts in New York City; and Bloomfield Hills, MI where he is currently enrolled as a Ceramics MFA candidate at the Cranbrook Academy of Art. He has exhibited in various solo and group shows domestically and internationally including the 2011 Gyeonggi International Ceramix Biennale in Icheon, South Korea and the 2016 Toronto Design Festival. He has held residencies at the Peters Valley Crafts Center in Layton, NJ and most recently, Talking Dolls in Detroit, MI. Website Ebitenyefa Baralaye About the Artist Artist in Residence 2016, Ebitenyefa Baralaye – Part 2 Artist in Residence 2016, Ebitenyefa Baralaye – Part 1 David Abram Artist in Residence 2016: Ebitenyefa Baralaye – "Bam Bam" Ebitenyefa Baralaye Other Works By Follow the developmental journey of Ebitenyefa’s project by reading his FIRST , SECOND , THIRD and FINAL posts written as a 2016 Artist in Residence. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Responding to Isaiah 5, Lancelot Schaubert's short story causes readers to wrestle with the concept of justice as we identify and distance ourselves from the characters therein. Isaiah 5 Watchtower By Lancelot Schaubert Credits: Background Photo by Jewad Alnabi on Unsplash Curated by: Spark+Echo Arts 2022 Short Story Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I wanted this piece to capture the ambiguity of future judgment and even the impermanence of it as all justice through Jesus is restorative and not retributive: a wasteland isn't an abyss, isn't nothing. A wasteland is simply laid fallow. In fact, the Heath is one of the biggest images in England for pre-cultivation, the sort of thing the Spirit might hover over like the primordial chaotic waters of creation. In this respect, even in the judgment of the verse, there's hope: from tilling to tilling to tilling. Sowing to sowing to sowing. Eventually you'll hit harvest, even if it takes a sabbath of sabbaths to fallow and find. Spark Notes The Artist's Reflection Lancelot has sold work to The New Haven Review (The Institute Library), The Anglican Theological Review, TOR (MacMillan), McSweeney's, The Poet's Market, Writer's Digest, and many, many similar markets. (His favorite, a rather risqué piece, illuminated bankroll management by prison inmates in the World Series Edition of Poker Pro). Publisher's Weekly called his debut novel BELL HAMMERS "a hoot." He has lectured on these at academic conferences, graduate classes, and nerd conventions in Nashville, Portland, Baltimore, Tarrytown, NYC, Joplin, and elsewhere. The Missouri Tourism Bureau, WRKR, Flying Treasure, 9art, The Brooklyn Film Festival, NYC Indie Film Fest, Spiva Center for the Arts, The Institute of the North in Alaska, and the Chicago Museum of Photography have all worked with him as a film producer and director in various capacities. Website Lancelot Schaubert About the Artist Artist in Residence 2019: Lancelot Schaubert - Part 3 Artist in Residence 2019: Lancelot Schaubert - Part 2 Artist in Residence 2019: Lancelot Schaubert - Part 1 Posh Girls As Waters Cover Artist in Residence 2019: Lancelot Schaubert Dragonsmaw Daily | 1 Dragonsmaw Daily | 2 Dragonsmaw Daily | 3 Stripped to the Bonemeal Metaphysical Insurance Claim 0075A: The Delphic Oracle Philadelphia Bloodlines Lancelot Schaubert Other Works By Related Information View More Art Make More Art Zeke wanted good grapes. Not the cheap kind we use to make jams or table wine, good grapes. Great wine: the sort you bring out first at a wedding. View Full Written Work Close Loading Video . . . Zeke wanted good grapes. Not the cheap kind we use to make jams or table wine, good grapes. Great wine: the sort you bring out first at a wedding. Download Full Written Work

Loading Video . . . "Yo Sé" by the Spark+Echo Band is a musical bilingual response to Jeremiah 29. Jeremiah 29:11-14 Yo Sé By The Spark & Echo Band Credits: Words and Music by Jonathon Roberts // Musicians: Jonathon Roberts, accordion, voice; Emily Clare Zempel ukulele, voice; Jay Foote Upright bass; Alex Foote, percussion // Mixing: Alexander Foote // Mastering: Christopher Colbert Curated by: Spark+Echo Arts 2012 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This is a classic passage, one of those that you want to put on your wall or memorize when you are having a rough day. I use it as such, carry it with me. Sometimes I think about it at the little Lutheran storefront church we go to in Queens. This lovely bilingual church community that has been our home for 10 years is part of what inspired writing our first song in Spanish and English. This song was part of the Spark+Echo Band's second album, Inheritance . Spark Notes The Artist's Reflection The Spark & Echo Band is a family outfit of songwriting-storytellers led by husband and wife duo Jonathon Roberts and Emily Clare Zempel. Their music brings forgotten poetry and wild stories from the Bible to life: visions of sparkling wheels in the sky, hunger and thirst, and legends of love as strong as death weave with memorable melodies and captivating rhythms. Drawing from a classical background, influenced by the pianism of Rufus Wainwright and Ben Folds, and emulating Paul Simon’s narratival techniques, Spark & Echo sings epic tales of love and adventure. The duo has collaborated on three full lengths albums (Spark&Echo, Inheritance, Cities Project), one video album (In the Clocktower), in addition to many theatrical collaborations, this very nonprofit, and two children. They live in beautiful Beacon, New York, with all of the above. Website The Spark & Echo Band About the Artist White Robe What a Day Deep Calls to Deep Do You Love Me? Where Can I Go? How to Be Free Flesh Lifeblood Artist in Residence 2015: Spark & Echo Band Take to Heart The Wheels Frogs Ruined Inheritance The Spark & Echo Band Other Works By I know the thoughts that I think when I think of you. I know the plans that I have for you. Plans of hope, Plans to prosper, Thoughts of peace, And none of calamity. And you shall call upon me, And you shall come to me, And you shall pray unto me, And I will harken unto you. And you will seek me, And you will find me, When you search for me with all your heart. I will be found of you, I will be found of you. And we will be free. Yo sé los planes que tengo para tí. Yo sé muy bien los planes que tengo para tí. Planes de bienestar, Y no de calamidad. A fin de darle un futuro y una esperanza. Y tú me invocarás y vendrás a suplicarme. Y yo te eschuraré me buscarás y me encontrarás, Me encontrarás cuando me busques de todo corazón. Te dejaré encontrarme, y tú serás libre. And I will seek you, And I will find you, I will search for you with all my heart. I will find you. I will search for you with all my heart. I will be found of you, And we will be free. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Composer Jonathon Roberts is inspired by Ezekiel 1 and Chef Aarti Sequiera's "Ezekiel's Wheel Chickpea Salad" to create Wheels, a song that now exists in two versions, one for rock band and one for chickpeas. Ezekiel 1:15-21 The Wheels By The Spark & Echo Band Credits: Musicians: Jonathon Roberts (vocals, piano), Emily Clare Zempel (bassoon), Matt Bauer (harmony vocals), Jay Foote (bass), Mason Neely (drums) Mixed by Alex Foote Mastered by Matt Shane (Masterdisk, NYC) Curated by: Spark+Echo Arts 2010 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link The above rendition of "Wheels" is from the debut album of the Spark & Echo Band. The song, however, has an interesting history. In the first year of Spark+Echo Arts, when it was called Bible Confrontatie, the project emphasized confronting or responding to another artist's response to Scripture. In that vein, this song was originally created as a response to Chef Aarti Sequiera's Ezekiel's Wheel Chickpea Salad , another work in the Spark+Echo project. To create the song, I recorded the great sounds that came up as I made her salad in my kitchen: firing up the gas burner, roasting a red bell pepper over the burner (it whistled and popped), stirring up tahini, pouring chickpeas, chopping shallots, boiling beets, scraping the skin off the bell pepper with a knife, dropping and toasting walnuts in a pan (we were out of pine nuts). Then I sampled Aarti saying two words from her video: "Tahini" and "Chickpea." I used the tah, iin, and chi sounds. In the spirit of a Food Network style challenge, I limited myself to only the recorded sounds from the salad prep and Aarti's three syllables (tah, iin, chi) when making the composition. I cut the sounds up, pitched them at different octaves, and added delay and reverb. The text is adapted directly from the story of Ezekiel's Vision of God in Ezekiel 1. There are so many fascinating parts of this story, but since Aarti focuses on the mysterious wheels that Ezekiel saw, I thought I would also make this the focus of the song. I imagine the narrator emphatically telling the story of what he just saw to the first person he sees. When we see something incredible, barely believable, sometimes we focus on just one component of what we saw, the only part we can wrap our head around. Imagine a couple telling their grandkids about an extreme storm they just witnessed. The storm had tornados, torrential rains, and affected thousands of lives, yet the part of the story they tell over and over is that there was a mailbox in perfect condition yet up in a tree. The rest of the tale was unfathomable so they keep coming back to that mailbox. That reminds me of Ezekiel a little bit when he spends so much time focusing on the wheels‚-how many, how they intersect, that they move but don't turn. Perhaps of all the wild things he saw, the wheels were something that he could wrap his head around and communicate so he really focused on them. So those are the parts of Aarti's Recipe and Ezekiel's story I am confronting with this "Chickpea Edition" of the Wheels. Spark Notes The Artist's Reflection The Spark & Echo Band is a family outfit of songwriting-storytellers led by husband and wife duo Jonathon Roberts and Emily Clare Zempel. Their music brings forgotten poetry and wild stories from the Bible to life: visions of sparkling wheels in the sky, hunger and thirst, and legends of love as strong as death weave with memorable melodies and captivating rhythms. Drawing from a classical background, influenced by the pianism of Rufus Wainwright and Ben Folds, and emulating Paul Simon’s narratival techniques, Spark & Echo sings epic tales of love and adventure. The duo has collaborated on three full lengths albums (Spark&Echo, Inheritance, Cities Project), one video album (In the Clocktower), in addition to many theatrical collaborations, this very nonprofit, and two children. They live in beautiful Beacon, New York, with all of the above. Website The Spark & Echo Band About the Artist White Robe What a Day Deep Calls to Deep Yo Sé Do You Love Me? Where Can I Go? How to Be Free Flesh Lifeblood Artist in Residence 2015: Spark & Echo Band Take to Heart Frogs Ruined Inheritance The Spark & Echo Band Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

The Rejoicing of Obedience The Ruin of Idolatry Loading Video . . . Visual artist Nicora Gangi explores behavior and outcome in this diptych responding to two juxtaposing passages in 2 Chronicles (vv 7:10; 22:4). 2 Chronicles 22:4 2 Chronicles 7:10 The Body without the Spirit | 2 By Nicora Gangi Credits: Curated by: Spark+Echo Arts 2021 11 x 14 inches Paper and digital collage Mixed Media Collage Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link About “The Rejoicing of Obedience” (from 2 Chronicles 7:10) Then on the twenty-third day of the seventh month he sent the people to their tents rejoicing and happy of heart because of the goodness that the Lord had shown to David and to Solomon and to His people Israel. The whole congregation expressed the greatest joy and satisfaction imaginable. They kept the feast of the dedication of the altar, then the day of atonement, and finally, the feast of tabernacles. We must never begrudge the length of hours, days or even weeks we spend in the worship of God and communion with Him. For the joy and happiness of heart will so far outweigh any length of it. About “The Ruin of Idolatry” (from 2 Chronicles 22:4) Ahaziah was 42 years old when he became king, and he reigned one year in Jerusalem. [...] He also walked in the ways of the house of Ahab for his mother was his counselor to do wickedly. And he did evil in the sight of the Lord like the house of Ahab… (2 Chronicles 22:2a, 3-4a, NASB 1977) A repetitive statement in II Chronicles is: “He did evil in the sight of the Lord.” These kings debased and destroyed themselves because they kept close to the kinds of idolatry, lewdness and sensuality, which the God of Israel strictly forbade. Forsaking the divine guidance that was theirs through the good and famous priests and Levites who taught the knowledge of God in David’s life time, they listened to the counsels of their relations, becoming a ruin to the nation of Israel. Spark Notes The Artist's Reflection Nicora Gangi was educated at Syracuse University, Syracuse, New York, USA (BFA 1974 and MFA 1976). She was a Professor of Art at Syracuse University for 29 years. Gangi has been awarded many Grand Prize and First Place awards and grants. She has been and continues to be published in numerous artist’s books on pastel paintings. She has lectured regionally and nationally as a visiting artist at universities and artist’s guilds. She is represented by: Edgewood Gallery (Syracuse, NY), and Gangi Studio (Winter Garden, FL ). Website Nicora Gangi About the Artist The Mountain of the House of The Lord I See Him but Not Now So Shall Your Descendants Be This One The Body without the Spirit | 1 The Body without the Spirit | 3 The Sealed Ones Peace with God The Everlasting Protective Love of God Our Father When the Lord Gives Us The Land I See Him but Not Now The Mountain of the House of The Lord Paneled and Ruins Series The Harvest Spirit of God-The Spirit Hovering Memories Lies Fool Dance Your Truth from the Great Congregation Psalm 18 Sound of Their Wings Psalm 16 Kiss the Son EAST, WEST, NORTH & SOUTH AT HIS TABLE Nicora Gangi Other Works By View the other two posts in this collection at: The Body without the Spirit | 1 The Body without the Spirit | 3 Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Blues band Kenyon Adams & American Restless sing the Psalms as Blues. Here they bring to life the wails of Psalms 25 and 91 through "Shame", a song written by Noah Lekas. Psalms 25 Psalms 91 Shame By Kenyon Adams & American Restless Credits: Words and Music by Noah Lekas Musicians: Kenyon Adams & American Restless, featuring Noah Lekas Artist Location: New York City Curated by: Spark+Echo Arts 2012 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link About the song, by Noah Lekas: I really liked the idea of contending with God for His name’s sake – as if to say, “I know I am not worth helping, but You have to help me because of who You are.” So the song is sort of exploring that and this idea of being completely out numbered and surrounded in a Psalm 91 Spark Notes The Artist's Reflection The personal histories of Kenyon Adams and Noah Lekas (American Restless) have converged at the crossroads of the blues, where black music of the American south meets the Midwest, much as it did during the 1950's as many southern blacks (including Muddy Waters and Little Walter) head north from their share-cropping communities to seek job opportunities and play for dollars on the city streets. The blues was never nihilistic but presented a gut-wrenchingly honest spirituality which was, in it's deep concern for the human situation, both theologically and philsophically concerned. The music of Kenyon Adams & American Restless seeks to represent these aspects of the blues in our post-post modern setting in which we live among a generation which, while being privileged & educated to an unprecedented degree, is perhaps more confused and discontented than any in recent history. To this picture and in this scenario we wish to contribute our own "cries" out to God in solidarity with all who struggle to reconcile inner longings with the besieging cruelty of the mundane. Website Kenyon Adams & American Restless About the Artist Kenyon Adams & American Restless Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Contended And Retain Linda Smith, Contended Linda Smith, Retain Loading Video . . . The work of artist Linda Smith celebrates female forms while reflecting on the attention paid to women in Numbers 27:6-7. Numbers 27:6-7 Contended and Retain By Linda Smith Credits: Curated by: Michael Markham 2019 Mixed Materials Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link In my newest body of work, I have created different 3-dimensional shapes. Using organic materials such as pig bladder, gauze, hemp, pantyhose and various fabrics, I weave together multiple womblike forms using a variety of processes including burning, alternatively exposing and concealing the interior. My objective in working with such varied physical properties and materials is to create a world of weightless spheres that provide a temporary haven from outside elements. Spark Notes The Artist's Reflection Linda Smith is an artist and art educator who helped start a non-profit with her partner Prossy Yohana while living in Kigali, Rwanda, called the “ TEOH Project ”, which provides cameras and art classes to children in Rwanda, Ghana and Bronx, NY. She has been commissioned by the UN to provide photographic classes to survivors and former perpetrators of the 1994 genocide in Rwanda. She earned an MFA from the University of Connecticut. Her work has been exhibited in the United Nations, Embassies and Universities. Instagram: @laughing_linda Website Linda Smith About the Artist Linda Smith Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

See Brian S Chan 1 Loading Video . . . Pastor, author, and painter Brian S. Chan's work See reflects the theme of "poverty" from Mark 10:46-52 and Luke 18:35-43. Mark 10:46-52 Luke 18:35-43 See By Brian S. Chan Credits: Artist location: Los Angeles Curated by: Brian Dang 2014 13.5 x 12.5 inches Charcoal and Acrylic on Paper Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I think of a blind beggar named Bartimaeus, who had not seen anything for many years or perhaps his entire life. Thought of as stricken by God, this beggar was impoverished not only in money but also in social acceptance. I picture the real poverty of this man was indicated by his weathered and worn face after years of begging in the streets under the sun and surviving in harsh conditions – a poor lifestyle that would’ve easily aged a man. He showed his faith in Jesus by crying out to him in spite of the public’s scorn. He called for Jesus to have mercy on him. “Mercy” was his cry. Perhaps this poor man understood that his poverty was not just physical but spiritual. When Jesus asked what he could do for him, Bartimaeus did not ask for unlimited money, a castle on a hill or the pleasures of royalty, for those would’ve seemed too small in comparison to what he actually asked for! He asked for something that could only from the vast resources of God – sight. It was understood then that the only being that could make the deaf hear, the mute speak or the blind see was God. This kind of healing was a direct act of the Creator, the one who made the ears, mouth and eyes. The healing of blindness not only meant physical sight but the implication of mercy, forgiveness and acceptance by God. So as I contemplated this incident, I captured the very moment of Bartimaeus receiving the lavishing miracle of Jesus, the moment he experienced the riches of divine glory pouring over him and his eyes began to see. As the darkness faded, the first thing he saw was his Savior Jesus. What must he have felt or thought? Red traditionally represented the blood of Christ, signifying God’s ultimate grace. The nature of the gift to Bartimaeus was founded on grace. Bartimaeus did not work for it or earn it. He simply believed that Jesus was the second person of the triune God who had the power to lavish such a gift on an undeserving man. Gold traditionally represented divinity, signifying that Bartimaeus received a divine gift from the riches of God’s hand. I’m touched by the comedic and wonderful twist at the end of the story. Jesus told him, “Go, your faith has healed you.” That is, you can go live your life now with your new sight. But Bartimaeus did not go away from Jesus. He followed Jesus. Discipleship was prompted by the lavishing of rich grace by the Son of God. Spark Notes The Artist's Reflection Brian S. Chan is a Church Planting Pastor of Re-Create Church in Los Angeles; professor at Biola University, teaching a theology/philosophy of beauty; author of The Purple Curtain: Living Out Beauty in Faith and Culture from a Biblical Perspective ; BA in psychology & BA in sociology from UC Davis, ThM in historical theology and MA in Christian Education from Dallas Theological Seminary, and DMin in philosophy from Talbot School of Theology; married to Ellen and foster father of two baby boys. Website Brian S. Chan About the Artist Brian S. Chan Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . 2016 Artist in Residence Chris Knight presents his completed film "Collected Thoughts," inspired by Ecclesiastes 1:8-13. Ecclesiastes 1:8-13 Artist in Residence 2016: Chris Knight By Chris Knight This film contains brief moments of violence and strong language, and may not be suitable for all audiences. Discretion is advised. Credits: Title: Collected Thoughts Written and Directed by Chris Knight Starring: Jason Griffith, Erica Newhouse, Philip Callen, Michael Markham Produced by Luciana Alamo, Chris Knight, Michael Markham Curated by: Spark & Echo Arts, Artist in Residence 2016 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I grew up in the South, which in New York City where I live now, is sometimes considered unusual. A magnolia-scented strangeness hangs over the region. People ask what Alabama is like in ways I would never consider asking about Iowa or Oregon, like it's uncharted territory, somewhere not just off the grid but beyond it. When they do, I explain that I ate the same Bloomin' Onions, sat in the same movie theater darkness and rode shotgun past the same indistinguishable suburban homes. The suburbs are the same everywhere, and the secessionist mix of ignorance and anger I know they're really asking about is everywhere, too. But I know what they mean. Something about the South is different. Our greatest writer said, "The past is never dead. It's not even past," and it's true there. We learn to bathe in our past, to resent it and revere it, to hate it and re-enact it and never ever to escape it. We feel, and are reminded of, our nation-rending selfishness born of greed and inhumanity. We built monuments to warriors fallen in the service of an ignoble, revolting cause, and we imagine that our connection to the past makes us somehow more substantial. Ecclesiastes reminds us that our past will not save us. It's a book about impermanence and failure. It reminds us that everything under the sun will be forgotten. The riches we gather will be scattered, the towers we raise will fall. It asks us to find small comforts while they're available because oppression and fear and the yawning grave are coming for us. In this most hopeless of years, filled with dead heroes and decayed ideals, I chose as my inspiration a book quite literally about hopelessness. So I made a film about hope. The hope that we might be remembered while our failures are not. The hope that we aren't the people our worst actions reveal us to be. That we are better than what we have been. Because that's the promise of the Bible: that there's something beyond this hopeless world we find under the sun. That there our sins can be scrubbed from our fetid souls, and we will be preserved, clean and upstanding. That we will be redeemed. Almost one hundred and fifty years ago in the American South, the men whose monuments I visited on class trips instituted an era of horrific violence and rapacious looting across the region. They set out to make the South great again by disenfranchising the newly freed slaves, installing corrupt, oligarchic leaders and using the power of the state to destroy anyone who resisted. They called it Redemption. The arc of the moral universe does not bend toward justice. It bends under our own hands, in whatever directions we choose to bend it, and we are craven, spiteful and vicious. We lose ourselves in daily routines and petty jealousies and fail to see the principles we've betrayed and the devastation we've brought down until we're standing in the rubble. Eventually, the villains always win. The Preacher of Ecclesiastes knows all this, but he knows something else, too: "There is nothing better for them than to rejoice and to do good in one's lifetime." We can't change human nature, our thirst for power over each other, our eagerness to turn away from the pain we cause and get back to the mundane tasks we have to do. Like Randall in the film, we tell ourselves we must be doing the right thing because we're doing what makes our own lives easier, what advances our own needs. But in the midst of it all, maybe sometimes we can glimpse each other stumbling around in the howling night and perform a small mercy, to shed some light on their path and push away the darkness, if only for a moment. And the struggle to do that is worthwhile in itself, even if it is hopeless. Especially when it is hopeless. "That which has been is that which will be, and that which has been done is that which will be done." Corruption, violence and fear suffuse the world that we live in. We can't escape them, and in this world under the sun they will never be beaten. But we can fight them. We can work to see the people in our lives who need our help. And we can try to be better tomorrow than we were today. History may not remember us, but at least we will know what we did. Spark Notes The Artist's Reflection Chris Knight is a director and writer based in New York City. His short films and feature scripts have been selected for a variety of film festivals across the country. Website Chris Knight About the Artist Artist in Residence 2016: Chris Knight Part 1 Artist in Residence 2016: Chris Knight Part 2 Artist in Residence 2016: Chris Knight Part 3 Carried from Jericho Chris Knight Other Works By Follow the developmental journey of Chris' project by reading his first , second , and third post as a 2016 Artist in Residence. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work