smiracle-4th-3.jpg Loading Video . . . Responding to Ecclesiastes 1:8-18; 2:17-26; 3:11; 6:7-12; 8:6-17, 2016 Artist in Residence Stephanie Miracle chronicles the unfolding of her project's final performance for a beautifully unexpected audience. Ecclesiastes 1:8-18 Ecclesiastes 2:17-26 Ecclesiastes 3:11 Ecclesiastes 6:7-12 Ecclesiastes 8:6-17 Artist in Residence 2016: Stephanie Miracle By Stephanie Miracle Credits: Title: “3, 2, 1, the future.” Photos by Dominque Chabot Curated by: Spark+Echo Arts, Artist in Residence 2016 2016 Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link For there is a proper time and procedure for every matter, though a person may be weighed down by misery. Since no one knows the future, who can tell someone else what is to come? As no one has power over the wind to contain it, so no one has power over the time of their death. As no one is discharged in time of war, so wickedness will not release those who practice it. (Ecclesiastes 8:6-8) It was November 26. A typical monochromatic winter afternoon in Germany, drizzling rain and unpleasantly cold. Huddled together waiting for the bus I stood with my group of ten performers hailing from France, Japan, Singapore, Taiwan, Germany, and Italy. The city bus arrived. We piled and were transported further away from the city into the winding country side of horse pastures and mustard fields. On our journey we exchanged nervous, excited questions about the place we were going and the people we were to meet. Our destination was a newly constructed refugee welcome center just 20 minutes up the hill from us. It was designed to temporarily house up to 700 refugees before placing them in permanent residential units across various cities all over Germany. Our invitation was to to present was a kind of "welcome" and "here is something to enjoy while you wait" performance. I had been asked to create a piece of choreography for this event back in October when I was contemplating my final post for this Spark and Echo residency. Originally I had set a goal of making two dance films based on the selected passages from Ecclesiastes. One was to be a solo and the other a Fakers Club performance in a public space. My 2nd and 3rd posts are variations on these ideas but for my final posting I no longer felt compelled to push in this initial direction. When the opportunity to create something for the refugee camp arose I decided to shift my focus in this direction for the final posting. Working with the last passage from my selection of Ecclesiastes 8:6-17, I took inspiration from ideas of time, future, power, meaninglessness, misery, seeing, wisdom, understanding, what is fair and unfair, and joy. We arrived at the complex of building several hours before the schedule performance. First step was to get through security. The refugee building was under very strong protection and entrance required a criminal background check plus lots of paperwork. Patience was difficult to muster with so much anticipation surrounding the event. Once cleared we wound our way through a network of buildings to the enormous mess hall characterized by a shiny, stainless steel industrial kitchen and hundreds of pine tables, chairs and matching plywood walls. We cleared an area of the space to create a makeshift stage. Families with young children, men young and old trickled in and shuffled around to find a seat they liked. The performers also found a seat in the "audience" area. All together about 200 people waited in silence, staring at an empty space. Photo from "3, 2, 1, the future." And then orchestral music begins to swell. One by one the performers stand up on their chairs among the audience. The performers call out each other's names and begin pass a glowing blue ball above the audience. The music shifts to Afro-Funk and a wild game of toss explodes. The children go nuts. Seamlessly the ball disappears but the game continues and intensifies with an invisible ball. The performers jump and tumble all through the space, catching and passing the imaginary ball. The music stops everyone freezes. The performers slowly and quietly return to their chairs. The audience is trying to contain the giddiness the sport just stirred up. Two girls begin to whisper to each other across the room. They crawl out of their chairs and meet. The other performers come to find them and carry the two girls overhead. As their conversation continues they are floated above audience heads. A new person is picked up and transported through the space as the discussion continues. The group congregates and bodies assemble together to form a house like structure. One girl explores the house as a thunderstorm soundtrack plays in the background. The house of bodies collapses around her. Out of the rubble it rises again and lifts her up on its shoulders. She find pulls out a small bottle in her pocket, looks at it carefully and begins to blow the bubbles through the air. The children gasp with glee. The performers reach out to gently catch the bubbles and they transform into glass marbles. The clunk of marbles hitting the floor relates the silent burst of a thin soapy sphere. One man begins to collect all the marbles one by one. Momentarily halting the play. Who gets to have the marbles? For a tiny moment time is suspended. The man with the marbles looks around and begins to place one in the hands of audience members. The performers return to their seats and dance miniatures dances with the marble. So small they are only intended for people sitting closest to them. The music quiets and everything returns to stillness. Long after the performance the young and old continue to roll the small marble gifted to them through their fingers. Photo from "3, 2, 1, the future." I have almost no documentation of this final project in the series. The reason being security measures meant that video was completely prohibited and only few people were authorized to take photos. Although we have more photos available we are not allowed to use them because the faces of the audience are recognizable. Because most of our performance was intended to be in, among, and through the audience nearly all of our photos have faces of refugees in them. The photos I am posting here are permissible for use. Like all time-based performances, this piece disappeared almost instantly after it emerged. What lingered were only the smiles and beaming eyes. A feeling of joy hovered. It is hard for me to discuss dances in verbal language because I am more interested in visceral and emotional gut reactions. This is why I was drawn to the passages of Ecclesiastes originally. Because I feel the writers ideas through his language. I feel his frustration and confusion and joy and release. The writing is circular and moving around. Not landing on a final answer. It attempts comprehension but finds that it can't. It can't understand. I feels disappointing, absurd and hopeless. Yet in the end it feel that the writer focuses on joy. While studying this final passage in my Spark and Echo series I was reminded of another verse in scripture. "At that time Jesus, full of joy through the Holy Spirit, said, "I praise you, Father, Lord of heaven and earth, because you have hidden these things from the wise and learned, and revealed them to little children. Yes, Father, for this is what you were pleased to do." ( Luke 10:21 ) Photo from "3, 2, 1, the future." After our small performance vanished it was the laughter of the children that remained. And at the end of my year long residency it is the joyful promise that what is hidden and confused and darkened will be revealed to little children that remains with me. Spark Notes The Artist's Reflection Stephanie Miracle is an American born independent choreographer and performer currently based in Essen, Germany with her husband visual artist Jimmy Miracle. She earned her MFA in Dance at the University of Maryland and a BA in Dance from Belhaven University. She is also a teacher of Klein Technique™ and holds prestigious honor of being a 2014/15 German Fulbright Fellow in the Performing Arts. In 2015 she joined as a full-time dancer with the Folkwang Tanzstudio/FTS. In addition to performing with the company she often works in collaboration with Henrietta Horn (DE), Carla Jordao (PT), Ana Farfan (MX), Paola Ponti, (IT) and Anna Shchkleina (RU). She is the director of Fakers Club, a site-specific performance experiment based on film and serial television. Stephanie's choreography has been described as “iconic and nuanced…with an irreverence that makes you smile unconsciously”(Rick Westerkamp, 2014). Often in vivid technicolor, Miracle’s works are crafted with a cinematic sensibility and follow subtle narrative threads. In addition to creating choreographies for traditional proscenium theaters her unique aesthetic finds special significance in common spaces for example, parking lots, bus stops, woman's prisons, hallways, staircases, and rooftops. in Germany, Hungary, Mexico, Russia, New York City, and Washington DC by various institutions including MetLife Foundation, Exchange Festival, Dance Place, Supernoval Festival, Open Look Festival, Performatica, Belhaven University, ES WIRD SOGAR SCHÖN, Barnes Crossing, The Clarice Smith Performing Arts Center. Other awards include the Smith Scholarship Grant to attend ImPulsTanz in 2012, dance artist-in-residence at OMI International Residency 2012, DC Innovation grant in 2013, Bates Dance Festival Merit Scholarship 2013, Goldhaber Travel Scholarship 2014, and NextNOW new work grant 2014. Her collaborative piece “Drafting Plan” was awarded Best Duo at Barnes Crossing Festival 2015 in Cologne and at the 2016 SzoloDuo Festival in Budapest. She is honored to be a 2016 Artist in Residence at Spark and Echo Arts. Website Stephanie Miracle About the Artist Artist in Residence 2016: Stephanie Miracle Part 1 Artist in Residence 2016: Stephanie Miracle Part 2 Artist in Residence 2016: Stephanie Miracle Part 3 Treasure Heart Stephanie Miracle Other Works By Follow the developmental journey of Stephanie's project by reading her 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

Loading Video . . . Composer Doug Detrick explores the account of Jonah (from Jonah 1-2 ) as it relates to the great American novel, Moby Dick, with his captivating work for jazz ensemble and narrator. Jonah 1:1-2 Ishmael and the Whale By Douglas Detrick Credits: Performers: Ren Jackson, Narrator; Anywhere Ensemble Venue: Neighborhood Church of Greenwich Village, NYC Artist Location: Portland, Oregon Curated by: Jonathon Roberts 2014 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I was reading Moby Dick for the first time in 2013. As a joke, I started “live tweeting” my reading of the book, pretending as if it was one of the mass audience events that people usually treat in this way. My Moby Dick tweets started out snarky. “Ok, fine, I’ll call you Ishmael,” I said. But, as I got further into the book, and I started to realize that I was actually processing this book, understanding the details of the writing and getting to know the characters much better than I’m usually able to, especially for such a long work. In Chapter Nine, where Ishmael sits in a chapel on Nantucket and hears Melville’s retelling of the Jonah and the Whale story, I found the bringing together of these two stories really caused a profound collision of values. Jonah’s great humility makes Ahab’s hubris look all the more like naked aggression. Its an amazing foreshadowing of what’s to come in the novel. When I wrote my text, I wanted to bring out the background of both stories, and talk about why they seem to oppose each other so completely using a blend of journalistic techniques and theatrical character development. The narrator walks a fine line between commenting on the story as an investigator, and as a character from the story. The music works almost like another character, sometimes supporting the narrator, sometimes contradicting him, always amplifying the speaker’s wonder at the depth of intersecting meanings in this collision of stories. I want to offer sincere thanks to Spark and Echo for this opportunity, for their help in producing the premier performance, and for welcoming a non-Christian artist like me to participate in their project; to Ren Jackson for his great work with the text; to the musicians of AnyWhen Ensemble for their continued assistance in executing my diabolic plots; to Keith Biesack of ITGLOWSNYC for donating that amazing wine at the performance; and to Kirk Van der Swaagh of the Neighborhood Church of Greenwich Village for offering the use of their wonderful space in Greenwich Village. Spark Notes The Artist's Reflection Douglas Detrick is a Portland, Oregon-based composer, trumpet player, and arts consultant whose work in these diverse areas is distinguished by its quiet thoughtfulness and its embrace of good ideas from unconventional sources. He was awarded the 2011 Chamber Music America New Jazz Works and Presenting Jazz grants for his work with his chamber-jazz quintet Douglas Detrick’s AnyWhen Ensemble, and the commissioned work “The Bright and Rushing World” was premiered at New York’s Jazz Gallery in 2012 and performed throughout the United States. He is currently the Executive Director of the Portland Jazz Composers Ensemble, and performs in Oregon as well as touring nationally with AnyWhen Ensemble. As an arts consultant to individual artists and arts organizations, he helps to clarify goals and define strategies for achieving them through fundraising, program design, marketing, WordPress websites, and career coaching. douglasdetrick.com anywhenensemble.com Website Douglas Detrick About the Artist Douglas Detrick Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . 2017 Artist in Residence Lily Maase presents her nearly-completed song cycle, Buried in Wicked Light inspired by Revelations 9:10-20; 11:3-7; Isaiah 8:11; Proverbs 4:23. Proverbs 4:23 Isaiah 8:11 Revelations 9:10-20 Revelations 11:3-7 Artist in Residence 2017: Lily Maase By Lily Maase This album contains some strong language, references to violence, and allusions to drug use, and may not be suitable for all audiences. Discretion is advised. Credits: Composed, Written, and Performed By Lily Maase. 2017 Curated by: Spark & Echo Arts, Artist in Residence 2017 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Buried in Wicked Light is a rock opera about standing tall at the end of the world. It is a series of love letters—from the author to herself and others, and from the author's mother to her memory of herself as a little girl. Written in loving remembrance of my father Steve Maase, and in witness to what we lived through when I was young. I am a grown woman now. I wish you were here to see whatever happens next. Spark Notes The Artist's Reflection Lily Maase is a rock, country, jazz and classical guitarist raised in New Mexico, educated at the University of North Texas, and living in Brooklyn, New York. She is contributing writer for Premier Guitar Magazine and has contributed to Guitar World and Guitar World’s Acoustic Nation, who recently lauded her as a “master guitar teacher.” She is the founder and owner of Brooklyn GuitarWorks, a workshop-oriented center for guitar and bass guitar education located in Williamsburg. Lily is the lead guitarist, musical director and bandleader with the Rocket Queens all-female tribute to Guns N Roses and the Suite Unraveling (Tzadik). She is the lead guitarist with Gato Loco, and is endorsed by Godin Guitars. Her playing has been featured by Vans.com, Maxim.com, Guitar World’s Acoustic Nation, Teen Vogue, and Elle Magazine. Website Lily Maase About the Artist Artist in Residence 2017: Lily Maase Part 1 Artist in Residence 2017: Lily Maase Part 2 Artist in Residence 2017: Lily Maase Part 3 Look Out Below Lily Maase Other Works By Read the complete set of lyrics to Buried in Wicked Light . Follow Lily's project's development throughout the year by reading her previous first , second and third posts. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . The work of musician Justin Keller captures the sense of overwhelming awe found in the heavenly vision as described in Revelation 4:2-8. Revelation 4:2-8 Lion, Calf, Man, Eagle By Justin Keller Credits: Written, performed, and recorded by Justin Keller. 2016 Curated by: Sarah Gregory 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link "Lion, Calf, Man, Eagle" I was always fascinated with Revelation when I was a kid. I didn't understand the symbolism (not that I do now), but the images it conjured up in my imagination were astounding. I wanted to capture some of that daydreamy wonder with this song. My normal tendency is to pile lots of stuff onto an arrangement to build it to a climax, but I decided it would be better here to give the listener the feeling of being dropped into this amazing scene that has started long ago and shows no signs of stopping or creating a crescendo. I also went against my initial instinct with the words I chose to set. The "Holy, holy, holy" chorus is the obvious choice, but it's been set to music many times by superior composers. I ran the passage by an editor friend of mine, and he fixated on the "full of eyes around and within" phrase. As it's repeated, it can take on different meanings, which I love. When I first read it, I just imagined these heavenly creatures with many eyes. As I recorded the song and sang and heard the phrase over and over, its meaning shifted according to my mood and what else was on my mind. I hope the listener has a similar experience. A few nerdy notes about the music: I came up with the rhythm section parts by using some serial composition techniques with the numbers in the passage. I love having numbers to help me set limits on my musical choices. The saxophone part was improvised as I looped the backing parts and thought about the passage. Sort of my own musical narration. Spark Notes The Artist's Reflection Justin Keller Started in Brooklyn in 2007, Land of Leland is the musical project of multi-instrumentalist and singer-songwriter Justin Keller. LoL’s releases include a self-titled EP and a full-length record, Home/Away, which just came out in April on Primary Records. Justin occasionally plays shows with different iterations of the band, from solo to sextet. View more info at www.LandofLeland.com Website Justin Keller About the Artist Justin Keller Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . This hauntingly beautiful song by indie singer-songwriter Mara Measor explores the importance of experiencing darkness in order to know light in response to Isaiah 60:2. Isaiah 60:2 Weight of the Dark By Mara Measor Credits: Written, Composed, + Performed by Mara Measor Curated by: Spark+Echo Arts 2020 Indie Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link See, darkness covers the earth and thick darkness is over the peoples, but the LORD rises upon you and his glory appears over you. (Isaiah 60:2, NIV) The idea of a thick darkness covering the peoples fascinates me. It reminds me of the poetry in Genesis 1: "darkness was over the surface of the deep, and the Spirit of God was hovering over the waters." We tend to think of light as good, dark as bad — but I wonder if we are always too quick to apply a positive/negative dichotomy to whatever concept we get our hands on. In the Weight of the Dark, I explore the idea of darkness being necessary to know light. And while darkness can be unpleasant, unwanted, painful; it's an important state to fully feel so that light and lightness can also be fully felt. Spark Notes The Artist's Reflection Born and raised in Hong Kong, Mara Measor is half-British and half-Chinese but you wouldn’t guess it when you hear her. After high-school she spent a year working and singing in Ethiopia and now performs as an indie singer-songwriter in NYC. She was featured as “One to Watch” in Audrey Magazine, and her bilingual song “I want to Love You” recorded live on a Hong Kong TV Channel RTHK was shortly selected as a Best of the Year performance in 2012. She has played in NYC venues including Joe’s Pub, the Bitter End, Caffe Vivaldi and the Museum of Chinese in America. She has also sang in Shanghai and South Korea. Mara graduated with an acting degree from NYU Tisch. She has appeared on TV (Blue Bloods, CBS), off-Broadway shows and starred in numerous independent films. She is currently a recording artist at Good Mood Records, where she works in collaboration with Emmy-Award winning producer and composer Jamie Lawrence. Her debut album “Mara” was released August 2013. www.marameasor.com Instagram: instagram.com/marameasor Website Mara Measor About the Artist You Saw Me Mara Measor Other Works By Read: Weight of the Dark lyrics Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Filmmaker John Egan created this film in response to passages from Joshua 1:1, 3-6, 9-18; 3:5, 11-12; 4.2. Joshua 1:1 Joshua 1:3-6 Joshua 1:9-18 Joshua 3:5 Joshua 3:11-12 Joshua 4:2 Joshua By John Egan Credits: Curated by: Michael Markham 2015 Short Film Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link In reading Joshua (the book of war) I began to hear three distinct voices arise from the verses: one of a militant, one of a father, and one of a son. Initially I wanted to write three monologues for these characters, adapting the verses that I felt spoke for/to each of these characters. What evolved were three scenes, led by each of these characters. The result was a sort of triptych film, that (I hope) deals with the cycles of war through family generations and unpacking what it truly means to be "strong and courageous." What does it mean to be spoken to by God? Does that give us authority over others? Are so we naive to think that war will save us, even if we have "goodness" on our side? After we've destroyed our enemies, where does that leave our young men who fought? Spark Notes The Artist's Reflection A Minnesota native, John Egan has been a performing artist in NYC for the past 14 years. John is grateful to Spark and Echo for the opportunity to create a new piece for this ambitious campaign. John is a member of BREAD Arts Collective as well as CORE Artists Ensemble. Currently he can be seen in RISE AND FALL at People Lounge, every Sunday night at 8pm. John is a graduate of The Juilliard School. Website John Egan About the Artist John Egan Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Kimberly Grey's poem explores the sweetness and the pain of love, inspired by Genesis 5:2. Genesis 5:2 System with Some Kindness By Kimberly Grey Credits: Curated by: Kent Shaw 2016 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This passage from Genesis immediately got me thinking about the word "kind" that was attached to the idea of humanity as it was created. And I couldn't help but think: but are we kind? Sometimes, yes, sometimes no. And I immediately thought of lovers, how it seems impossible for two people who have chosen to combine their lives together to be solely kind or solely cruel. There's usually some kind of back and forth between the beloveds. This is what makes the engine go. Keep going. Because I'm working on a series of poems called "systems" (where an idea is repeated in broken down parts or ideas to make some kind of larger statement) I saw that this poem could fit into that project. The word kind eventually breaks down, becomes kings, kins, rinds, as the larger idea of kindness is explored. I couldn't help but think of Aristophanes' speech about lovers, that human beings were originally round organisms composed of two people joined together. But Zeus chopped each of them in two and now, as a result, the lovers go through life constantly searching for the other person who can make him whole again. Though it may sound romantic, it's this action of combining two beings that creates difficulty. No person who ever loved another person didn't experience some kind of pain from it. The poem is interested in that pain, in the erasure that occurs when two people attempt to act as one. There will undoubtedly be some kind of suffering and some kindness around the suffering. Spark Notes The Artist's Reflection Kimberly Grey is the author of The Opposite of Light, winner of the 2015 Lexi Rudnitsky First Book Prize and published by Persea Books. Her work has appeared in Tin House, A Public Space, Kenyon Review, Boston Review, Southern Review , and many other journals. She is the recipient of a Wallace Stegner Fellowship and Civitella Ranieri Fellowship and currently teaches creative writing at Stanford University. Website: www.kimberlyMgrey.com Website Kimberly Grey About the Artist Kimberly Grey Other Works By Related Information View More Art Make More Art Let me state, this will not end kindly. There was a woman and a man, some kind of language between them. View Full Written Work “He created them male and female and blessed them. And he named them “Mankind” when they were created.” Genesis 5:2 System with Some Kindness by Kimberly Grey Let me state, this will not end kindly. There was a woman and a man, some kind of language between them. It’s easier to tell the story of what binds than what wounds them – Said her: Kindly clean your feet, Said him: kindly find your mind, Said both: would you kindly mind your fine fine eyes? Who would hope for this? “I examined you when you were in the most pain,” said neither. Both rinds of leftover fruit, gone and bad. Lovers are not kings, not kinds of kings, not kins, even. If you pay attention, you can hear them win in their losses. They practice, with their contours, a kind of war: coming together shape to shape, resembling a geometric sameness: “love and hate in combination make an irresistible enemy” – I don’t know who said this and if they meant it kindly, but what binds the lovers, what makes them kind, is their bodies together, the spherical shape the Greeks ached for. They lay outside of Olympus, anthropologically unapologetic, mind to mind, cheek to cheek, striving for and writhing in this kind of “ness”: No lover not loved a little remissed (erasing the eyes the thighs the feet the lips) No neck bone broken quickly without it. Close Loading Video . . . Let me state, this will not end kindly. There was a woman and a man, some kind of language between them. Download Full Written Work

Loading Video . . . White Robe is a musical response to beautiful imagery in Revelation 7, composed for a couple to celebrate their anniversary. Revelation 7:9-17 White Robe By The Spark & Echo Band Credits: Composer: Jonathon Roberts Musicians: Jonathon Roberts, piano/vocal; Emily Clare Zempel melodica/vocal; Jay Foote, bass; Mason Neely, drums Mixing by Alexander Foote Mastering by Matt Shane at Masterdisk NYC Curated by: Commission 2011 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link White Robe is a love song commissioned by Amanda Bourman for her husband, Timothy Bourman in celebration of their 3rd wedding anniversary on May 31st, 2011. Revelation 7:9-17 was their 'engagement verse' that Tim read to Amanda after he proposed to her in the Conservatory Gardens in Central Park, NYC. Tim Bourman is a pastor at Sure Foundation Lutheran Church in Woodside, Queens. We are very grateful for this commission, their friendship, and their generosity to Spark and Echo Arts. 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 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 The Wheels 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

Loading Video . . . Responding to Galatians 4:21-5:1, author and 2019 Artist in Residence Lancelot Schaubert presents the final installation of his four short stories that will ultimately become chapters in the third novel within his White Trash Magic trilogy. Galatians 4:21-5:1 Artist in Residence 2019: Lancelot Schaubert By Lancelot Schaubert These stories contain strong language and may not be suitable for all audiences. Credits: Curated by: Spark & Echo Arts, Artist in Residence 2019 2019 Fantasy Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link For this final piece , I wanted to show how the common life of these boys starts to radiate out in strange ways towards the fantastic. The four pieces were always intended as a sort of series of intro chapters for the book 3 sequel to the trilogy I started with Bell Hammers , my forthcoming debut novel. I think, in general, I wanted the text to show how you can preserve both the fantastic and the mundane in the same family and through different methods. In this piece, it's clearly showing the good and bad, miraculous and fantastic I myself have witnessed in religious communities of various shapes and sizes. But I also — as the epigraph pointed out — wanted to show some of the danger of magic. Sometimes you play around with the wrong thing, you get real and truly lost and that can be bad or good, depending on your response and to whom you appeal for help. I'm grateful for Jonathan and Rebecca and the whole team at Spark+Echo for making this possible for me. The residency itself not only gave me space to play in this world in an otherwise busy publishing year, it actually helped me consider whether I'd properly seeded the fantastic in my debut novel — I had, as it turned out. And, practically, it gave me the cash to hire a cover designer with whom I am quite proud as you'll see in the Goodreads copy . In fact, while we're here, if you enjoyed any of these pieces, you'll enjoy Bell Hammers, so could you just boogie over there and rate my debut novel 5 stars and add it to your want to read list? That would be a huge help as we finish out this thing. Keep an eye on the world. This Spark+Echo residency is simply a small, small piece of an epic journey. It will be revised — in some ways — beyond recognition, but those of you who have followed along and who buy my stories from the Vale universe will see very soon how it plays a vital role. And you're always welcome to submit your own art and stories and research over at The Showbear Family Circus! We'd love to have you. 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 Dragonsmaw Daily | 1 Dragonsmaw Daily | 2 Dragonsmaw Daily | 3 Watchtower Stripped to the Bonemeal Metaphysical Insurance Claim 0075A: The Delphic Oracle Philadelphia Bloodlines Lancelot Schaubert Other Works By You can read his prior short stories (and chapters within his overarching story) in his first , second and third phases. Related Information View More Art Make More Art That year, we all got really into paintball, you know. Simon’s grandad had lead the O.G. paintball team that won the first world cup. Find the complete progression of the work linked below. View Full Written Work Close Loading Video . . . That year, we all got really into paintball, you know. Simon’s grandad had lead the O.G. paintball team that won the first world cup. Find the complete progression of the work linked below. Download Full Written Work

Loading Video . . . Fashion photographer Justin T. Shockley's work responds to the theme of "Community" from Romans 5:10. Romans 5:10 Ragamuffin By Justin Shockley Credits: Curated by: Ebitenyefa Baralaye 2012 9.5 x 14 inches Photography, Digital Film Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This particular work is inspired by film, God, faith, and humanity. I am deeply influenced by alternative culture and cult films by directors like George Romero (who incidentally is a Christian) and authors like Anne Rice. The monster genre has long been a great source of the complex view of evil and friendship. On the one hand you have a monster seen in a movie like Frankenstein who is seen as a source of evil but there is something more complex there I think. Even he, despite his atrocities, desires redemption. The monster can find redemption but he needs help. The monster requires salvation in a sense outside himself or he is lost. Just as the moral of the story of Frankenstein goes "there is nothing more humanizing than friendship." This piece reflects my thoughts on God's redemption. We are, in point of fact, enemies of God much like the vampires in Anne Rice's novel. If we are apart from God we are without hope. We must drink and steal life from the universe to sustain ourselves but it does not satisfy our thirst. Much like how the vampire story reflects Anne Rice's walk before she met Christ, this work reflects our need for covenant type friendship with a childlike approach. This is not Postmodern Art. Spark Notes The Artist's Reflection My name is Justin T. Shockley and I am a internationally published Fashion photographer and freelancer for the New York Times. I’ve shot everything from fashion/editorial, lookbooks, celebrities, news, and stock. Currently I am photo editor, fashion photographer, and consultant for Glamorous Chic magazine here in New York City. I’ve been shooting 5+ years and am a second generation photographer. On the Web: www.justintshockley.com On Facebook: http://www.facebook.com/pages/Justin-T-Shockley-photography/42215716554 Website Justin Shockley About the Artist Justin Shockley Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Love Awakened 4 2011 Cj Cb 19 Loading Video . . . It was a lovely, warm spring night in NYC for "Love Awakened," Spark and Echo's multi-disciplinary arts event held on April 18th, 2011, at 2 Great Jones in the East Village. Jessica Cermak and Joie Bauer performed as lovers in a theatrical performance of one of history's most beautiful love poems, Song of Songs. This piece was directed by Emily Clare Zempel and featured music written by Jonathon Roberts, performed by Roberts, James Hall, and Matthew Talmage. Complimenting the performance was live painting of a mural in response to the text by Linda Serrone Rolon. Song of Solomon 1:1-5:15 Song of Solomon 6:1-8:14 Love Awakened: Song of Songs By Jessica Cermak and Emily Clare Zempel Credits: Adapted by Emily Clare Zempel and Jessica Cermak Actors: Jessica Cermak, Joie Bauer Directed by Emily Clare Zempel Music by Jonathon Roberts Performers: James Hall, trombone; Jonathon Roberts, piano/vocals; Matthew Talmage, percussion; Emily Clare Zempel, vocals Live Painting by Linda Serrone Rolon Presenter: Carey Wallace Artist Location: New York City Curated by: Emily 2011 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This evening was a collaborative experience that we hope can be replicated at other venues starting with the resources on this page. We found the combination of theater, live painting, music, poetry, and audience response time to be an inspiring way for everyone to experience this remarkable text. If you would like to perform this adaptation of Love Awakened, please contact us . Spark Notes The Artist's Reflection Fellow New York actors and theater makers Jessica Cermak and Emily Clare Zempel have a deep love for classical text and devised theatre. This passion and partnership brought Love Awakened to life. Website Jessica Cermak and Emily Clare Zempel About the Artist Jessica Cermak and Emily Clare Zempel Other Works By Following the performance was a talk by special guest author, Carey Wallace, author of The Blind Contessa's New Machine. Ms. Wallace spoke on the unique qualities of love letters and what makes Song of Songs timeless. Audience members were then given time to write their own expression of love to someone special in their life. It was an exciting evening exploring this beautiful text together through the arts. This evening was a collaborative experience that we hope can be replicated at other venues starting with the resources on this page. If you would like to perform this adaptation of Love Awakened, please contact us . Read the Script Scores: Better Than Wine • Incidental Music • Solomon's Get Ready Song • Set Me As a Seal More photos from the event Excerpt from the Evening: Songs from the production: Extended footage of the evening: Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Poet Priscilla Wathington explores Lamentations 3:46-54 and the history of Bloody Hill in her new poem, Landmark #427. Lamentations 3:46-54 Landmark #427 By Priscilla Wathington Credits: Curated by: Spark+Echo Arts, Selected from Artist Submissions 2015 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Last summer I drove through Sonoma county with my family, then continued north along miles of twisted redwood thoroughfares, sharply curving highways cut into bleak rock, and were only interrupted by blighted towns with firewood sale pit-stops and empty lots lined with diseased trees. I was struck by a sense of desertion and wanted to find out who had lived there before, and what relationship they had cultivated with the blustery crop of birds, the foggy beaches and teaming river systems. Among other histories, I came upon the story of Bloody Island, an often overlooked chapter of California's past. Once the site of a thriving community, the Pomo (so named by anthropologists) witnessed the plunder of their lands, skies and waters, and the slow starvation of their people by "enemies without cause." On May 15, 1850, following the earlier killings of Officers Stone and Kelsey, a group of U.S. Calvary descended upon Bloody Island. One recorded oral history describes dead children being carried to the water on the ends of bayonets and tossed in, while others were shot as they tried to swim to safety.[1] Today, due to levees and diverted rivers, Bloody Island is a hill surrounded by reclaimed lands with only a plaque to recount its tragic past. [1] Max Radin and William Ralganal Benson, "The Stone and Kelsey 'Massacre' on the Shores of Clear Lake in 1849: The Indian Viewpoint," California Historical Society Quarterly, Vol. 11, No. 3 (Sep., 1932). Spark Notes The Artist's Reflection Priscilla Wathington is a Palestinian American poet, mother and freelance editor who lives in San Francisco, approximately 120 miles south of Clear Lake. Website Priscilla Wathington About the Artist Priscilla Wathington Other Works By Related Information View More Art Make More Art Hunt me like a winter loon, my throat thin and mottled if the splittail desist your proffered View Full Written Work Landmark #427 By Priscilla Wathington Hunt me like a winter loon, my throat thin and mottled if the splittail desist your proffered mealworm, duck your brusquely copied basket traps, consider me, relatively speaking a poor man’s fry paired with strings of kelp, buckeye nuts and salt. Before your children’s mouths turn to bread, strip my feathers for their musky oils their faint expectation of vagrancy, simultaneous wing molt. Drag me, flightless, the May Clear Lake blooms rose, where I swam headily among the bloodied bands of men who, like me, never cleared the whetted slit of your bayonet. Close Loading Video . . . Hunt me like a winter loon, my throat thin and mottled if the splittail desist your proffered Download Full Written Work