Performing Arts

Tempt Your Senses: Hear

Posted on February 13, 2013 by Kentucky Arts Council

With over 200 exhibitors working in wood, paint, silver, wool, chocolate, clay, silk and much more, Kentucky Crafted: The Market is a sense explosion. That’s why we chose “tempt your senses” as this year’s theme. We dare you to come to the Lexington Convention Center on March 2 – 3 and be tempted by all of the music, textures, smells, sights and tastes offered by Kentucky’s best artists and crafts people.  It will be impossible to walk away empty handed.

The moment you walk into the Market – even before you purchase your pass – you will notice that art is everywhere. Although buying and selling visual art is the Market’s main purpose, it’s not the sole purpose. The arts council uses this versatile venue to create all kinds of arts experiences: literary art, folk and traditional arts and performing arts. The Kentucky Stage, located in the atrium of the convention center, features a full schedule of diverse musicians from across the state. Not only can we we boast the Commonwealth’s finest art and craft, we also present Kentucky’s most accomplished live performers for the price of your admission. If you like what you hear, you can step over to the Marketplace and purchase CDs.

Hog Operation – Saturday, March 2, 2 p.m.

Hog Operation uses bluegrass instrumentation to explore a variety of American musical styles from reels to rock ‘n’ roll. They play original music as well as country standards and bluegrass arrangements of popular songs. Audiences can expect to hear their favorite bluegrass sounds but should also be prepared for pleasant surprises. Each musician – Larry Raley, Mike Schroeder, John Hawkins and Steve Cooley – is accomplished in his own right. When they play together the sound can be described simply as “tight.” Come early to hear Steve Cooley discuss how he keeps the stringed instruments – that are so vital to the unique bluegrass sound – playing the sweetest possible notes. At 1 p.m., the Kentucky Stage will feature a live interview with Steve, Donna Lamb, Art Mize, Arthur Hatfield and Walter Lay – all Kentucky luthiers who make or repair banjos, fiddles, guitars, mandolins and more.

Northern Kentucky Brotherhood Singers – Saturday, March 2, 3 p.m.

It began 25 years ago in Covington’s Ninth Street Baptist Church when Ric Jennings formed an a capella quartet from members of their men’s choir. The Northern Kentucky Brotherhood Singers earned most of their chops in the church and some on the street corners, and the result is uniquely northern Kentucky.  Although they have performed all over the United States and Europe, they are true to the sound created in their community and play local churches,  song services, sacred music events and even anniversaries. In addition to their gospel repertoire, they also sing R&B favorites and other popular tunes. They take the Kentucky Stage on Saturday afternoon, but it may feel like Sunday morning as they ”inspire feelings of fellowship and recreate the jubilant atmosphere of their home church.”

Appalatin – Saturday, March 2, 5 p.m.

The name Appalatin (as you may have guessed) is a portmanteau of Appalachian and Latin. True to their name, they blend the music of their home regions to create a sound that is – above all other labels and definitions – music of the world and 21st century Kentucky. Appalatin is artistic proof that no matter our culture of origin, our ways of expression have much in common. Old-time string, blues, bluegrass, Spanish-style guitar, bachata, cumbia – it all has roots. Their sound obviously speaks to more than just Appalachians and Latinos. With a musical mission “to bring a message of a fair and just world, one of hope, joy and love,” Appalatin have a popular sound and a strong following that can be seen in the results of their recent Kickstarter campaign to produce their new album. To date, they have made 150 percent of their goal with donors pledging as much as $1,500. Their campaign doesn’t even end until March 10, 2013. Now that is real listener buy-in!

Real World String Band – Sunday, March 3, 1 p.m.

Reel World String Band

Reel World String Band

Trouble in Mind

Early in their careers, this “all-girl act” was considered a novelty in mainstream music. But people who knew better saw that they were just darn good musicians. Lily May Ledford once said of the band, “You don’t see many people up on stage who’ve got fire. But you girls have got it. Lord, you girls are good!” This so-called novelty has thrived for over 35 years, and Kentucky is truly fortunate to have the members of the Reel World String Band as  native daughters. With rousing harmonies, the band makes music rooted in the Appalachian tradition while representing and championing Kentuckians through their songs. They are each masters of their instruments and treasures born of Kentucky’s arts and cultural heritage.

These are just a few of the performers you can experience on the Kentucky Stage. For a complete listing, look at the lineup in the Market program.

Market Program

Sarah Schmitt, arts access director

Are your sense tempted yet? For more peeks and previews, check out our titillating Pinterest board.

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An apprentice’s dream

Posted on October 10, 2012 by Kentucky Arts Council

When things “don’t go according to plan,” it typically invokes a negative thought. But my unplanned adventures with Grand Ol’ Opry star Bobby Osborne, through the Kentucky Arts Council’s Folk and Traditional Arts Apprenticeship Program, were quite the opposite.

What were going to be bimonthly mandolin lessons and history chats turned into performing with one of the most famous artists in bluegrass music history.

I was able to perform at venues and locations throughout the South including: the Ohio Valley Opry; Mount Airy, North Carolina; the Thomas D. Clark Center for Kentucky History; the Kentucky Coal Rally; and the highlight, the world famous Bean Blossom Bluegrass Music Festival.

Bobby and Cory perform during the “Makings of a Master” debut at the Thomas D. Clark Center for Kentucky History.

My experiences with Bobby were not limited to just musical ones. I believe it would be safe to say that I learned just as much, or even more, about the history of the music I was playing than the music itself. I was able to learn about the history and source of some of the most popular songs in bluegrass and country music. Also, I learned facts, stories and legends about some of the most famous icons in music; all told from a first-person perspective by a man who was there.

My experience with Bobby Osborne, through the generosity of the Kentucky Arts Council’s apprenticeship grant, has been a literal dream come true. I was able to be a part of something that many young musicians only dream of, and I am humbly thankful.

I would like to express my sincere gratitude to: Mark Brown, Bob Gates and everyone at the Kentucky Arts Council; Bobby Osborne and all the members of the Rocky Top Express, and all of the other countless friends and family who have supported me through the amazing twelve months of my apprenticeship. You all have my deepest heartfelt thanks and gratitude.

And to all the other young musicians out there, dreams do come true.

God Bless and keep on picking!

Still dreaming,

Cory May, folk arts apprentice 

To learn more about folk arts apprenticeships in Kentucky, visit the Makings of a Master exhibition when it travels near you. The next application deadline for the apprenticeship grant program is February 15, 2013.

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LaMay and Reese: the growing songbook

Posted on August 1, 2012 by Kentucky Arts Council

You’ve got to walk that lonesome valley
You’ve got to walk it by yourself
Nobody else can walk it for you
You’ve got to walk it by yourself

As a fifteen-year-old growing up in Western New York, hearing that chorus in the Kingston Trio’s “Reverend Mr. Black,” awakened me to a new music—actually an old music—something like I’d never heard before. Just by coincidence, five years later Sherri Reese heard Johnny Cash sing the same song on his TV show and experienced the same epiphany.

When we met several years later in 1998, Sherri and I discovered that we had both been drawn to the old songs—songs that came out of the mountains—what we now think of as traditional American folk and country music.

Sherri grew up with old-timey and bluegrass music and had been performing with her father and daughter in a family band. I had been performing as a folk musician and singer/songwriter. Our teaming as a duo brought together our two styles, and we gravitated toward that old mountain sound. Our original songs retain the old feel.

It wasn’t long before some other bluegrass bands and folk musicians were singing and recording a number of our original songs. To illustrate our traditional direction: one of our favorite experiences as songwriters was at a traditional folk music gathering where we sang our original song, “Marbletown,” and several attendees were frantically leafing through their old song books trying to find the song.

We moved to Kentucky in 2004 at the urging of some fellow musicians, and we haven’t looked back. It’s been the opportunity of our lives to learn and share the music we love in the state where so many great songs were born.

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We continue traveling around to perform, and last year we played in seven states from Kansas to New York. The best part for us is meeting other musicians and making new friends.  We were singing in Coffeyville, Kan., for example and we sang “Amelia Earhart’s Last Flight.’” After the concert we met an elderly woman whose sister had been one of Amelia’s best friends growing up in Topeka. These connections are what it’s all about for us.

Sherri and I appreciate the musicians who have passed their songs down to us. We have found that there’s still an audience out there for the old songs, and we’re doing our best to keep the music alive.

Joe LaMay

See LaMay and Reese perform Aug. 23, 2012,  during this year’s Kentucky On Stage, a showcase of the Kentucky Arts Council’s Performing Arts Directory. 

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DeaFestival 2012: What are we really saying if our audience can’t hear us?

Posted on July 11, 2012 by Kentucky Arts Council

This past Saturday, July 7, 2012, the Kentucky Arts Council partnered with the Commission on the Deaf and Hard of Hearing at DeaFestival to present a workshop for Kentucky Arts Partners and cultural districts. The topics were communicating with and presenting the arts to deaf and hard of hearing audiences.  We learned how deaf people are best able to appreciate theater, about deaf storytelling, computer-aided realtime reporting (CART) and hiring ASL interpreters.

The morning was fascinating. A highlight was when Timo Owens from University of Louisville described going to see “Poltergeist” in the movie theater when it was first released. There was no mandatory captioning at that time, as this was in the ‘80s before the American’s with Disabilities Act.  The entire audience was jumping and screaming. Girlfriends were clinging to boyfriends. Everyone was generally tense and scared. Meanwhile, Timo and his friend were laughing hysterically. They were unable to hear the sound cues, so the mood was quite different for them. Everything came across as kind of stupid, he said.

Nina Coyer, a deaf storyteller, shared her story about experiences at the airport to illustrate the importance of providing effective communication and equitable treatment to deaf people. In one instance, she had a question about boarding as there had been several changes to her itinerary. As she approached the counter, the two attendants panicked! They argued back and forth for a while until one of the women came from behind the counter, took Nina by the hand and escorted her to the gate. Nina was gracious, but pointed out that all the attendant had to do was write down the gate number. Sometimes the simplest solution is best. Not to mention, you should always treat adults like adults, regardless of how they communicate.

After our workshop, I represented the Kentucky Arts Council at a booth in the DeaFestival exhibition hall. After the morning’s sessions I felt equipped to communicate and started the afternoon with confidence. What I didn’t realize is that DeaFestival is an event where attendants can rightfully assume that most people there communicate using American Sign Language. When the first person approached me, she immediately began signing rapidly. I panicked! I felt like the two women behind the desk at the airline. I froze. I couldn’t find pencil and paper. I just pointed sheepishly at the publications on our table and smiled.

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Then, an angel leaned over the pipe drape of the adjacent booth and asked if I needed help. She was hard of hearing but also knew sign language. She helped me speak with a few people who wanted information or to tell me about their art. Then she taught me a few helpful signs like “free” (referring to the items on our table), “I am hearing” (which indicates that I don’t sign), “thank you,” “you’re welcome” and “sorry.” I used “sorry” a lot!

I was able to get by. I even shopped at the artists’ booths and discovered some phenomenal deaf and hard of hearing artists from all over the world. Everyone was very helpful when they found out I don’t sign but am eager to learn.  It was great to get a crash course in the morning and full immersion in the afternoon.  Obviously my experience was nothing like living as someone who communicates differently than mainstream society, but it gave me a brief glimpse into what it must be like to attend an arts festival that wasn’t designed with your communication medium in mind. I would encourage any festival or arts event planner interested in making their program more accessible to attend DeaFestival. Twenty minutes there is worth four hours in a workshop or seminar.

Sarah Schmitt, arts access director

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Rejection doesn’t have to hurt

Posted on June 13, 2012 by Kentucky Arts Council

When you’re rejected or don’t get the job, it is vital, it is extremely vital to success. Because, if you don’t experience that negativity or that rejection, you won’t have as much gratitude for the good things that come into your life.

— Paula Abdul

This time of year is hard on many of the arts council staff. We do our best to make sure our jury process is fair and equitable. Nonetheless, no one likes to send a rejection letter; no one wants to receive a rejection letter. Just remember, next year is another application, another jury and another chance.

I didn’t choose to make a living at art, but I have met with some successes in my pursuits with painting, surface design and most recently photography. I enjoyed selling my work, not because of the money as much as for the affirmation.

Getting my work out there has entailed entering many shows. If I had to count, I would say the rejection letters came more often than the “congratulations, please get your work to us right away” letters. For a while I would get a little despondent when those letters arrived, but I kept plugging away. Every once in a while I would be accepted to a show, but the rejection letters seemed too abundant. Then I went through a period of being angry when those ugly letters came. Actually, that was back in the day of submitting slides. You didn’t even have to open the envelope to know if you got rejected, because you could feel the slides. (If you were accepted, they kept the slides to use your images to promote the show.) At some point I realized it was ridiculous to be angry at someone I didn’t even know.

 

"a envelope full of slides" - This is what rejection used to look like.

This is what rejection used to look like.

 

So, if I got rejected from a show after that realization (and I still did) I just shook it off. There were  so many reasons for not being accepted that had nothing to do with the quality of my work and most certainly had nothing to do with my artistic soul. Every juror has their own perspective, so that can just be the luck of the draw. I tried to enter the same show the next year and hoped to have a juror or jurors who happen to be attracted to my work. Judging artwork is subjective at best.

There are other factors that go into the rejection of work. There are only so many spaces available in a show and you may be competing against throngs of artists. If it is a theme show, your interpretation could be diametrically opposed to the curator’s interpretation. Sometimes exhibiting galleries try to get representation of artists from a wide range of geographic areas or balance out different media or techniques and you just happen to be in a crowded field.

But when I did get accepted into a show it was sweeeeet. And fortunately, more often than not, my work sold. I’m not even a fan of Paula’s, but that’s where her “gratitude for the good things” comes in.

I sold calendars featuring my photography online, and one day I got this e-mail out of the blue. A woman from London, England bought my calendar and sent me a beautiful message describing how she loved every photograph and how she had placed it in her kitchen so she could see it everyday. When I received that e-mail I was overwhelmed with joy. It made every rejection letter I had ever received go away from memory. Like, Paula Abdul, I embrace rejection because it makes me appreciate acceptance so much more.

Ed Lawrence, arts marketing director

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