Loading Video . . . More Than Rubies is Jonathon Roberts' musical setting of the famous epilogue to the book of Proverbs, known as "The Wife of Noble Character". It was composed for the marriage ceremony of two friends of Spark+Echo Arts. Proverbs 31:10-29 More Than Rubies By Jonathon Roberts Credits: Musicians: Jonathon Roberts (Piano/Vocals), Mike Block (cello), Emily Clare Zempel (Clarinet), Mixed by Alex Foote Photo Credit: FreeDigitalPhotos.net/prozac1 Artist Location: New York City 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 This composition was written for a wedding celebration between two dear friends. The original text from Proverbs is beautiful. In this setting, the lyrics "we found you" refer to how God moved through the husband to lead him to the wife, that in a way they found her together. Apart from God the man would not have found such a wonderful person. This song is recorded as the final track on the debut album from the Spark+Echo Band. 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 Babbler Remember Me Prayer How Beautiful I Am a Fool The Constant Ecclesiastes Cows Blessing Fools for Christ Only a Few Years Will Pass Dear Friend Jonathon Roberts Other Works By View the Piano/Vocal Score More than Rubies Jonathon Roberts Psalm 31:10-31 We found you, We found you More Than Rubies, More Than Rubies It’s still dark out, It’s still bitter and dark But you are still up, Your lamp does not go out at night You consider a field, consider a vineyard I consider your arms and your fingers so, so strong We found you, More Than Rubies We found you, More Than Rubies, More Than Rubies It’s snowing out You have no fear We’re clothed in scarlet, purple and scarlet O fine, fine linen is you We found you, More Than Rubies We found you, More Than Rubies You laugh! What’s to come? You laugh Wisdom on your tongue, you Laugh! You are truly blessed, you are blessed You are truly blessed Many do noble things, but you surpass them all More Than Rubies, More Than Rubies 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

Loading Video . . . Composer Jonathon Roberts' work I Am a Fool is a setting of Paul's vivid writings in 2 Corinthians in which the apostle "boasts" of his sufferings and waxes on foolishness. 2 Corinthians 11:16-29 I Am a Fool By Jonathon Roberts Credits: Musicians: Jonathon Roberts: voice, piano, FX; Emily Clare Zempel: voice, clarinet, bassoon Artist Location: New York City Curated by: Jonathon 2010 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This song and sound design sets our adaptation of some of the Apostle Paul's dynamic writings to the Corinthians. Paul is all over the place using sarcasm, graphic imagery, humor and frustration to get his point across. I love it. Here is an excerpt from the original text: Let no one take me for a fool. But if you do, then receive me just as you would a fool, so that I may do a little boasting. In this self-confident boasting I am not talking as the Lord would, but as a fool. Since many are boasting in the way the world does, I too will boast. You gladly put up with fools since you are so wise! In fact, you even put up with anyone who enslaves you or exploits you or takes advantage of you or pushes himself forward or slaps you in the face. To my shame I admit that we were too weak for that! Credits: The “Train Whistle” sound was made by combining and manipulating Truck and Train samples from Freesound.org by users euroblues and daveincamas. 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 Babbler Remember Me Prayer How Beautiful The Constant Ecclesiastes Cows Blessing Fools for Christ More Than Rubies Only a Few Years Will Pass Dear Friend Jonathon Roberts Other Works By I Am a Fool It’s no wonder for Satan himself masquerades as an angel of light It’s not surprising then, that all of his friends are dressed up in righteousness O I’m too weak for this It’s no wonder you put up with fools when you are so very wise They slap your face and then boast of your slavery, so too I will join their cries For I am a fool. Please take me as a fool ’cause I am I am a fool, take me as a fool ’cause I am and I’ve no where else to go To my shame I am too weak for this It’s no wonder you follow the first man who pushes his way through the crowd He enslaves your skin, exploiting your name, he boasts to the world out loud So I, too, will boast: I’ve been beaten and stoned, I am bleeding, naked and left for dead, I’m in prison now, I’m shipwrecked and sore, I’m weak but I am proud For I am a fool. Take me as a fool ’cause I am. I am a fool, there’s power in weakness, my strength was never my own. It’s no wonder for Satan himself masquerades as an angel of light It’s not surprising then, it’s not surprising then… For I am a fool. Please take me as a fool ’cause I am. I am a fool, slavery is safer than living your life on a bus. To my shame I am too weak for this. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

The Whipping Boy Loading Video . . . Spice artist, Amanda Margaretha, explores global and cultural interpretations of persecution in response to Psalm 69. Psalms 69 The Whipping Boy By Amanda Margaretha Credits: Curated by: Laurel Justice 2017 84 cm x 60 cm Sugar, Rice, Food coloring, Cumin, Pepper, Turmeric, Chilli, Sumac, Paprika and Salt Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Description of the Work: The whipping boy is digital collage. It consists of several of images of hands (various sizes) making certain hand gestures. These gestures are used through body language, to communicate a specific message that is connected to the theme of the artwork. The original images are ephemeral installations; created through the use of Sugar, Rice, Food coloring, Cumin, Pepper, Turmeric, Chilli, Sumac, Paprika and Salt. Once the installations were photographed and documented, the imagery were used to create a digital collage which can be printed. The actual print is 84 cm x 60 cm. The use of Sugar, Rice, Food coloring, Cumin, Pepper, Turmeric, Chilli, Sumac, Paprika and Salt was not a random decision. Each medium carries with it inherent qualities like color and smell as well as history and signifiers that augment the theme of the artwork. As an artist, I have a long standing relationship with elements such as sugar, spice and rice, as mediums for installations. Over the years I has studied and categorized these qualities, histories and meaning of aforementioned elements and have learned how and when to utilize them in order to convey her message or explore, investigate and interrogate a certain theme. The hand gestures shown in the artwork refer to the body language we often use to convey intent and meaning. Explanation of the Theme: The hand gestures used in "The Whipping Boy" explore the themes persecution and suffering as expressed in Psalm 69. The sugar, spice and rice act as metaphors for how different cultures that span the globe, interpret, understand and believe the themes of persecution expressed through Psalm 69. No one is a 100% sure who wrote Psalm 69. The popular assumption is that David (a former great king of Israel) wrote it because David was the author of a great number of the Psalms. Many of his Psalms describe the problems and troubles David faced. King Saul hated David and wanted to kill him even though David did nothing to deserve such treatment. Others speculate that Psalm 69 was written by the prophet Jeremiah who lived some 400 years after King David. Jeremiah was not a very popular prophet. The message from God to the people of the day was not a popular one because he prophesied that Israel and Judah would be taken into captivity, and the land would be decimated. Both David and Jeremiah faced severe persecution from their enemies. In this Psalm the author talks about the persecution and suffering he has to endure. It also reminds us of Christ's suffering as documented in the New Testament. Various passages in this Psalm are applied to Christ in the New Testament. So what does this have to do with the Title of the artwork "The Whipping Boy"? To understand the phrase 'Whipping Boy' one has to understand the meaning behind the term. A prince usually had a special teacher. When the prince made a mistake, the teacher did not hit (or whip) the prince, but instead hit a boy that had lessons with the prince. The boy had done nothing wrong, but the teacher whipped him. He was a whipping boy, someone for the teacher to whip, hit or beat instead of the prince. Today, a whipping boy is anyone that is hurt when someone else has done wrong. The most important "whipping boy" of all was Jesus. They hurt him and killed him when he had done nothing wrong. Everybody that has ever lived has done wrong, and deserves God's punishment. But God punished Jesus instead of us. He was the ultimate Whipping Boy. He endured suffering and persecution even though he did nothing wrong. When the disciples of Jesus wrote the Gospels of Matthew, Mark, Luke and John, they remembered the things mentioned Psalm 69 and how that happened to Jesus also. Jesus referenced Psalm 69 verse 4 to explain to his followers they would be persecuted also. Here is part of what Jesus said in John 15:25 : "But this happened that the word would come true, the word in the scripture: 'They hated me without a reason.'" Some of the suffering mentioned in Psalm 69 happened to Jesus and his disciples. Here are some verses from the New Testament which are connected to Psalm 69: 1. John 1:11 with Psalm 69:8 : He (Jesus) came to his own country, but his own people did not receive him. 2. John 2:17 with Psalm 69:9 : His friends remembered what was in the scripture. "I am angry for your house and it burns me up inside." (This happened after Jesus had been to the temple in Jerusalem. He sent out the people there who were selling things. He was angry because they should not have done it there.) 3. Acts 1:20 with Psalm 69:25 : In the Book of Psalms it says, "Let the place where he lived be empty and do not let anyone live there." The friends of Jesus said this after Judas killed himself. Judas was the disciple who betrayed Jesus. 4. Matthew 27:29 with Psalm 69:2, 20 : They laughed at him (Jesus) and said, "You are the Great King of the Jews!" (The Roman soldiers did this before they crucified [killed] Jesus. The soldiers did not mean what they said. They said it in scorn. You may find more than one verse in the psalms that makes you think of Matthew 27:29.) 5. Romans 15:3 with Psalm 69:9 : Even Jesus did not look for pleasure for himself. As the scripture says, "The insults of the people that insulted you fell on me." 7. Matthew 27:34 with Psalm 69:21 : They gave Jesus vinegar to drink mixed with gall. When he had tasted it, he would not drink it. Spark Notes The Artist's Reflection Amanda Margaretha was born in South Africa to a Dutch mother and Afrikaans father. From an early age, her life has been shaped by cultural exchange and cultural diversity. She was known in school as “the student in class with the strongest imagination.” Art making and travel became her two great passions. The idea of exploration sparked her desire to travel and discover cultures, food and new ideas. In 1989 she traveled to Europe – it was to be the first of many adventures around the globe. One milestone was her visit to Cairo in 1996. There she plunged into a spectacular cacophony of spices, patterns and colors that is the Middle East. This marked the beginning of a long term love affair with the Arab world. She explored Morocco, Turkey, Bahrain, Jordan, The United Arab Emirates, Syria and Lebanon. From 2002 – 2010 she was based with her family in Yemen, where the Queen of Sheba once ruled her mighty and wealthy kingdom. Her time in Yemen taught her a tremendous amount about ancient Arab traditions, customs and culture as well as signifiers that represent ancient Arabian culture such as the various spices used for various purposes, frankincense and myrrh. This was also where she first conceived the idea of making art works with spices. In Yemen she started collecting and categorizing various spices which act as a metaphor to the threads of our ‘Being’. Over the years she continued to study these elements that shape our identities. She employed her knowledge of the history of the various spices to create works for her final year exhibition as an art student. The artworks were spice installations that reference the mark spices has made on the world we live in – through culture, faith, migration and the global economy. In 2015, Amanda Margaretha graduated in the field of Visual Art with distinction from the University of South Africa. Amanda Margaretha also developed her art making processes to include video installations like spice animations and photography. The use of this technology parallels her conviction that humanity’s evolutionary drive to find greener pastures through modernization and industrialization are predetermined factors that advance the progress of political and technological development, which in turn drives cross pollination of cultures. Her desire is that her exploration of the the relationship between the outer world (of economic aspirations of which spices and technology are a metaphor), and the inner world (of faith convictions as manifested through cultures), will lead the viewer down a path of exploration, investigation and discovery. Website Amanda Margaretha About the Artist Amanda Margaretha Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Poet Chauncey Beaty explores the complexity of the Apostle Peter in this beautiful poem responding to 2 Peter 1:3-10. You can also listen to Chauncey read "The Recipe (or Peter's Pantoum)" as spoken word. 2 Peter 1:3-10 The Recipe (or Peter's Pantoum) By Chauncey Beaty Credits: Curated by: Marlanda Dekine 2018 Poetry + Spoken Word Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link In preparation for this poem I read a great majority of the New Testament, listened to sermons on the scripture, and dug into the life of Peter. I resonate deeply with Peter. I can only imagine what it was like for him to experience first-hand the depth of Christ's love, mercy, trust, and hope despite the flaws, failures, and shortcomings of his humanity. What kept coming up for me as I was writing is: What would I do if God gave me the keys to heaven, trusted me with the honor of sharing His coming with the world, asked me to be the caretaker of His children, and also told me that I would soon be persecuted and killed? This is what Peter offered to us under those circumstances — a way to never be outside of the presence of God. Similar to the Lord's Prayer, where we are given the instructions "This, then, is how you should pray," 2 Peter 1:3-10 is an instruction that should be committed to memory. Peter is the man Jesus allowed to walk on water with Him. Peter is also the man who legs sink down into the ocean due to fear and doubt. I would argue that more than any other human on Earth, Peter understands what it takes for a human to "stay above water" in a state of confidence in God no matter the circumstance. A pantoum offers me as the writer an opportunity to continuously repeat Peter's instructions and the space for me to explain the gravity of Peter getting this message to us 2000 years later. I wanted to write a poem that would add to the legacy of Peter's efforts. Spark Notes The Artist's Reflection Chauncey Beaty : THE HEART WORKER™ Chauncey Beaty is an award-winning poet, TEDx speaker, certified life coach, and master facilitator. She is most known for her ability to do transformational “heart work,” — creating safe space, training, and speaking on topics that are generally difficult to discuss (such as HIV/AIDS, dating violence, mental health and wellness, healing, and difference and diversity). As a speaker and facilitator, she is captivating and easily connects with her audience by using a winning blend of humor, keen insight, and her unbeatable personality. Chauncey is a two-time international poetry slam finalist, ranking the 3rd best female slam poet in the world in 2010 by Poetry Slam, Inc. She is a proud ambassador for the Greater Than AIDS (GTA) campaign, a movement sponsored by the Kaiser Foundation aimed to elevate the public’s knowledge and understanding of HIV/AIDS. She has been featured in GTA commercials on NBC, CBS, Fox, Google TV, and its affiliate broadcast stations. As a GTA Ambassador, Chauncey has been a keynote speaker and performer at colleges around the country in partnership with the Black AIDS Institute's HIV testing initiatives. Chauncey’s image is used in print-ads and on billboards across the country with the slogans “My life is worth protecting” and “Speak up for yourself.” Chauncey was the first poet invited as a guest teacher to R&B singer Usher Raymond’s Camp New Look. She was one of three teaching artist invited to China to teach poetry in the Summer of 2011. Chauncey was a guest on the Michael Eric Dyson Show, interviewed by actress Mo'Nique on Clear Channel Communications, and featured as the centerfold ad in Heart and Soul Magazine for February 2011 edition and in Essence Magazine’s July 2012 edition with Barak Obama on the cover. Also, she was one of the featured artists on season one of the TV One’s hit show, Verses and Flow. Host Hill Harper compared her to poet, scholar, and activist, Nikki Giovanni. She is the founder and facilitator of the annual READY WOMAN RETREAT. Chauncey earned a Bachelor of Arts from Winthrop University in Psychology and a Master of Arts in Humanities (African American and African Studies) from The Ohio State University. The Life Purpose Institute, in San Diego, California, certified her as a Life, Life Purpose, and Career Coach. She is a TEDx speaker and a graduate of numerous leadership, organizational development, and diversity training programs. Chauncey is member of Delta Sigma Theta Sorority, Inc and a native of Greenville, South Carolina. Links: TEDx TALK, “Daughtering” • Greater Than AIDS • Verses & Flow Website Chauncey Beaty About the Artist Chauncey Beaty Other Works By Related Information View More Art Make More Art You would know why a dying man’s last words are a recipe for walking if you have ever tasted the sour of a fall View Full Written Work The Recipe (or Peter’s Pantoum) By Chauncey Beaty You would know why a dying man’s last words are a recipe for walking if you have ever tasted the sour of a fall It is a divine invitation to partake in the nature of God A dying man’s last words are a recipe for walking Here is the recipe: It is a divine invitation to partake in the nature of God This is how you will never stumble Here is the recipe: To faith add goodness; and to goodness, knowledge; and to knowledge, self-control; and to self-control, perseverance; and to perseverance, godliness; and to godliness, mutual affection; and to mutual affection, love This is how you will never stumble God is merciful To faith add goodness; and to goodness, knowledge; and to knowledge, self-control; and to self-control, perseverance; and to perseverance, godliness; and to godliness, mutual affection; and to mutual affection, love If you have ever tasted the sour of a fall God is merciful You would know why Close Loading Video . . . You would know why a dying man’s last words are a recipe for walking if you have ever tasted the sour of a fall Download Full Written Work

img_5057-pointy-elbow.jpg Loading Video . . . The starkness of this wonderful piece by Claire Bateman captures the sense of Hannah's emptiness and pain which she presents before God as portrayed in 1 Samuel 1:10. 1 Samuel 1:10 Hannah By Claire Bateman Credits: Curated by: Spark+Echo Arts 2018 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Hannah is portrayed as an elongated figure with empty arms, her entire folded around her internal space, her grief, which she transforms into prayer. Spark Notes The Artist's Reflection Claire Bateman is the author of eight poetry collections, most recently, Scape with New Issues Poetry & Prose (Kalamazoo). Her other collections are The Bicycle Slow Race (Wesleyan University Press, 1991), Friction (Eighth Mountain Poetry Prize, 1998), At the Funeral of the Ether (Ninety-Six Press, 1998), Clumsy (New Issues Poetry & Prose, 2003), Leap (New Issues, 2005), Coronology (Etruscan Press, 2010), and Locals (Serving House Books, 2012). She has been awarded Individual Artist Fellowships from the National Endowment for the Arts, the Tennessee Arts Commission, and the Surdna Foundation, as well as the New Millennium Writing Award and two Pushcart Prizes, and has taught at Clemson University and various workshops and conferences. She lives in Greenville, SC, teaches at the Fine Arts Center, and is an advisory editor for Orison Press. More of her work can be found at clairebatemanwork.blogspot.com Website Claire Bateman About the Artist Veridical Claire Bateman 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 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