Cassie Premo Steele's BEAVER GIRL is the ONE BOOK 2024 Selection!

The Jasper Project, in partnership with One Columbia for Arts and Culture and All Good Books, is delighted to announce that Cassie Premo Steele’s novel BEAVER GIRL has been chosen as the community reading selection for the ONE BOOK 2024 Project.

Set against the backdrop of a post-pandemic and climate-collapsed world, Beaver Girl follows the journey of Livia, a 19-year-old confronting the aftermath of environmental upheaval. As wildfires encircle her, Livia seeks solace in Congaree National Park, where an unexpected alliance with a beaver family becomes a central theme in her fight for survival.

Steele skillfully intertwines elements of a morality tale, shedding light on humanity's role in climate disaster. The novel delves into the ecological significance of beavers as keystone species, emphasizing their ability to shape landscapes and create sustainable water sources.

Beaver Girl  transcends traditional genres, offering a narrative that explores themes of redemption, resilience, and the interconnectedness of all living beings. Anxiety and Outcast Press, through this joint venture, bring forth a powerful story that challenges readers to reflect on the consequences of environmental negligence.

Jasper, One Columbia, and All Good Books have joined hands to provide a summer-long celebration of the project with programming, readings, an arts competition, and a culminating project party in September.

Pick up your copy of BEAVER GIRL,* read along, and join us for the following free events!

*Beaver Gril is available at All Good Books, Liberation is Lit, Amason, Barnes & Noble & Bookshop.org

Jasper Partners with One Columbia & All Good Books to present 2024 ONE BOOK Project -- Book Announcement Celebration April 21st at Bierkeller

A few hints: the author lives, works, and writes in Columbia, the book’s theme centers around nature, environmental responsibility, and climate change, and there are characters in the book that transcend perceived racial, gender, sexual orientation, and even biological divisions to remind us that we are all citizens of this planet.

The public is invited to join the Jasper Project, One Columbia, and All Good Books, along with our host, Bierkeller Brewing Company on Sunday afternoon, April 21st from 3 – 5 pm for the announcement of our new book selection for Columbia’s 2024 ONE BOOK project!

As an Earth Day Eve event, the Bierkeller has invited representatives from local environmental organizations to be on hand to help us set the stage for the announcement of this year’s book selection.

A few hints: the author lives, works, and writes in Columbia, the book’s theme centers around nature, environmental responsibility, and climate change, and there are characters in the book that transcend perceived racial, gender, sexual orientation, and even biological divisions to remind us that we are all citizens of this planet.

Columbia city poet laureate Jennifer Bartell Boykin will read a poem dedicated to the city, and southeastern regional poetry event host Al Black has created a new poem inspired by the selected book. Dr. Melissa Stuckey, USC professor of History, will speak as will One Columbia’s Xavier Blake, All Good Book’s Jared Johnson, and the Jasper Project’s Cindi Boiter. There will be an interactive arts table for the children, environmental information booths, and various arts and crafts vendors will share their wares and talents with attendees. And, of course, beer, wine, and authentic German dishes will be available from the Bierkeller.

In addition to announcing the calendar of events for Columbia’s 2024 ONE BOOK  celebration, the pre-Earth Day event will also allow for the announcement of a Jasper Project – sponsored and ONE BOOK - inspired visual art, literary art, and singer-songwriter competition open to Midlands area artists with prizes and a 2024 ONE BOOK culminating party on September 22, 2024.

The ONE BOOK, One Community project began in the Seattle public library system in 1998 when Seattle librarians invited the community of greater Seattle to read and discuss the same book over the course of a summer. Columbia embraced the project first in 2011, and we enjoyed several years of exciting, thought-provoking programming centered around a singular book. One of our most exciting projects was in 2017 when the Columbia community read local author Carla Damron's novel The Stone Necklace, a detailed and ultimately uplifting story focusing on the power of community to combat poverty and homelessness and set in Columbia. Along with One Columbia for Arts and Culture and independent bookstore All Good Books, the Jasper Project has renewed the project focusing exclusively on books by SC authors.

While the title of the book remains embargoed until April 21st, media representatives may be made aware of the information upon request.

What will the selection for Columbia’s 2024 One Book be? Join us on April 21st from 3 – 5 pm at the Bierkeller, 600 Canal Street, Suite 1009 to find out!

For more information contact info@JasperProject.org

 

Congratulations to the Accepted Contributors to Fall Lines - a literary convergence, volume X

On behalf of the Jasper Project, we’re delighted to announce that the following literary art was selected for inclusion in Fall Lines Volume X, releasing in spring 2024. These contributions were selected from several hundred poetry and prose submissions, and we couldn’t be happier to include them in this milestone tenth volume of Fall Lines – a literary convergence.

In early 2024 we will announce via the same website where and when we will hold our annual Fall Lines reading and awards ceremony, as well as the winners of the Saluda River Prize for Poetry, the Broad River Prize for Prose, and the Combahee River Prize in Poetry and Prose for a South Carolina Writer of Color.

Until then, congratulations and thank you for sharing your talents with the Jasper Project and allowing us to share them with the world.

Paul Toliver Brown – Digging to China

Allen Stevenson -- Shep’s Story

Bryan Gentry – Some People Never Change

Ruth Nicholson – The Red and Blue Box

Suzanne Kamata – Community Building

Evelyn Berry – Home Party

Randy Spencer – Next Day Now

Liz Newell – Red Hill Fans

Debra Daniel – Eve Purchases an Apple Watch

Shannon Ivey – As I Went Down to the River to Pray

Eric Morris – Straight Down Shadows

Lonetta Thompson – The Differences

Napoleon Wells – The Court of Thieves

Tshaka Campbell – Pews

Ann-Chadwell Humphries – Urban Eagle

Jacquelyn Markham – The persistence of limited memory  & Storage

Brian Slusher – *Improv 101 & What else for you darlin?  

Worthy Evans – *Blue Song for Bringing the Body Home & Blues Song for Never Having What I am Relative to Everybody Else

Rhy Robidoux –*Whereas

Nadine Ellsworth-Moran – *Nasturtium grows lush

Susan Craig – Migration & Treating our mother's last living friend

Heather Emerson – Divorce & Ceilings  

Joshua Dunn – Clearing House

Candice Kelsey – Chainsaws  & Renewable Energy

Terri McCord – Following a Blast

Randy Spencer – *Reading Ann’s Poem & In Passing

Debra Daniel – *Studies in Reproduction

Loli Munoz – Liminal

Frances Pearce – Strawberries

Ann Herlong-Bodman – One More

Jo Angela Edwins – A Neighbor Calls a Cool June Evening a Miracle

Kristine Hartvigsen – What I’ll pack for the apocalypse  & Inagaddadavida

Al Black –*Meditations on the Lawh-i-Aqdas & Midnight Call to Prayer

Tim Conroy – Journeys

Jessica Hylton – Space

Amanda Warren – Divination Road

Danielle Ann Verwers—How was your day

Libby Bernardin – Ode to the Santee Delta & Ramble of thought as I read an article in the New York Times

Ellen Blickman --The Mystery of Pomegranates

Allison Cooke – Whippoorwill Elegy

Julie Ann Cook --  Into blue

Bryan Gentry – Hail, Fuse

Kelley Lannigan – Aubade

Gilbert Allen -- T**** IS PRESIDENT

Jane Zenger – Choices

Anna Ialacci – Ruined

Nicholas Drake – The Space Beside Her  

Graham Duncan --  Exceptionalism

(* indicates finalists for the Saluda River Prize for Poetry)

Fall Lines - a literary convergence is made possible through a partnership between the Jasper Project, One Columbia for Arts and Culture, Richland Library, and the Friends of Richland Library.

Writer Carla Damron is More Than a Writer and a Social Worker - She Uses Her Art to Shine a Light on Some of Our Greatest Social Woes Including Homelessness and Human Trafficking

“I didn’t realize” were words I often heard in my work. They applied to me, too, back when everything I knew about human trafficking came from episodes of Law and Order. My first awakening occurred when asked to be a guest lecturer at a local college. I mentioned the beginnings of our anti-human trafficking advocacy when a student raised her hand and said, “You mean, like that girl they found in the trailer a few miles from here?”

Carla Damron, author of The Stone Necklace and the upcoming The Orchid Tattoo

I first met Carla Damron when I was working with the Richland Library and One Columbia to grow the One Book/One Community program in Columbia, SC. My personal goal for that project was to always choose a South Carolina writer for our community to read and I had lots of reasons why.

First, I believe it’s important for communities to recognize and support the truly talented among us in any way we can. But second, it’s incredibly important for us to see our friends and neighbors who accomplish major goals and be encouraged by them. Ride their mojo and use it to your own advantage!

The book we chose for our community to read, in conjunction with The State news which published the manuscript in part, was Carla’s 2016 novel, The Stone Necklace, set in Columbia, SC and published by the University of South Carolina Press’s Story River series, curated by the late Pat Conroy.

(I’m not sure what happened to the One Book/One community project since I’m not involved anymore, and neither is the Jasper Project. But, as an aside, I’d love to see it come back to Columbia and I’d love to see it adhere to the loose protocol developed by the Washington Center for the Book at the Seattle Public Library when the project was initiated in 1998. Hit me up if you’d like to work on getting this beautiful community project back up and running and are willing to work on it yourself. It’s a relatively easy project if you have a few volunteer hours in your pocket that you are willing to share.)

I’ve written about Carla Damron a number of times since we first met, and we’ve worked on projects together. She is quite a specimen of humanity in her goals and priorities, and I’m fortunate to call her my friend, writing sister, and fellow Columbian.

Today I want to direct you to two (more) outstanding contributions to our culture that Carla has so generously shared with us.

The first example is a recent essay Carla wrote on the issue of human trafficking and posted on her website. The title is “I Didn’t Realize — The Story Behind the Orchid Tattoo.” You should know that the Orchid Tattoo is the title of Carla’s upcoming novel, releasing on September 6th, 2022 from Koehler Books. This essay is linked above.

But secondly, Carla shared a piece of prose writing that I was delighted to share in the most recent issue of Fall Lines - a literary convergence. For your reading pleasure we present, “Breaking the Surface.”

Breaking the Surface

by Carla Damron

The olive green 1967 Mercury Marquis station wagon bulged with suitcases, bedding, groceries, floats, and our family. My father drove, my mother beside him, a Virginia Slim squeezed between two pink-nailed fingers. Crammed in the back seat: my teenage sister Susan, engrossed in a Nancy Drew novel, me, age nine, in the middle, and my eight-year-old satanic younger brother Freddy to my right. It felt like the drive to Surfside Beach took centuries, though really it took less than three hours. I smiled as we passed the bright blue billboard with the cartoon dolphins leaping into the air. It advertised the best store on earth, known for its pet fiddler crabs and mammoth shark’s teeth that could be purchased for less than my allowance. Every vacation to Surfside included a day at the Myrtle Beach pavilion and a visit to the beloved “Gay Dolphin.”  

            Freddy squirmed like the worm that he was, a bony elbow catching me in the ribs. “Quit elbowing me. Mom, Freddy’s elbowing me again,” I complained, for all the good it did me. I had a permanent concave space under the right side of my ribs.

            “She’s hogging up too much space with her fat butt,” Satan said.

            “Y’all behave. We’re almost there.” Mom let out a loud sigh as she flicked on the radio.

            “You said that a half hour ago.” Susan peeked up from her book, eyebrows arched in criticism.

            Mom tipped the ashes of her cigarette out the partly opened window. Smoke circled the inside of the car and found its way into my nose. I coughed.  

            “Here comes a VW,” Dad said.

I struck first, a quick-knuckled punch on my brother’s arm. “Punch buggy! No take-backs!”

“MOM!” he bellowed, as if I’d hacked him with a machete.  

“Arnold, seriously?” Mom tsked Dad. “Why do you encourage them?”

I spotted Dad’s sly smile in the rearview mirror.

“I’m going swimming as soon as we get there,” I said.

“Not until we get everything unloaded. And that means all of you helping.” Mom flicked the cigarette out the car, a pale torpedo barely missing the back window.

            I settled back in my seat, gaze fixed out the window, and counted speed limit signs. How many until Surfside? Twenty? A hundred?  I had reached number seventeen when another smell filtered through the windows: the unmistakable odor that meant Georgetown.  

            “I smell an egg fart! It’s probably her!” Freddy elbowed me again.

            “I wish they’d do something about the paper mills,” Mom said, like she did every time we came.  I didn’t care about the stink. Because if I closed my eyes, the Sulphur odor faded, and the distinct fragrance of salt, tanning lotion, and sea air filled my mind. I almost tasted my ocean.

***

            Finally, blessedly, we pulled up to the yellow wooden beach house perched on stilts. The checkerboard linoleum-floored kitchen had the basics: single sink, stove, refrigerator, and oven. Susan helped Mom unload the groceries, while Dad did the heavy lifting and Freddy and I fought over bedrooms—simple rooms, with no air conditioning, and generic paintings of seashells over white-washed dressers. 

            Mom tasked me with putting linens on the beds while my brother stocked the bathroom with soap, toilet paper, and towels. We both moved with lightning speed so we could scurry into our swimsuits and flip-flops and head down to the beach. Dad halted us at the screened porch.

            “Nobody swims until your mom or I are ready. So plant your fannies in those chairs and wait.”

            Wait. The hardest word for a kid, and one we heard many times a day. I pushed back and forth in the squeaky rocker as I stared out at sea-oats rippling above sand dunes. The quiet pounding of waves and squawk of seagulls called to me, but I had to WAIT.

            Inside, voices swelled in an argument about missing extra towels. “Really, Arnold. I ask you do to ONE thing,” Mom said.

            “One thing? Who loaded the wagon? Who gassed it up? Who DROVE us here?” Dad didn’t yell, but sort of laughed it out, like Mom was being ridiculous, a tone that might infuriate her and further delay hitting the beach.

            Freddy and I both stopped rocking. No response from her. Good.

Finally, the rest of my family emerged, Susan in her new bikini, Mom in a black one-piece and floppy hat, and Dad in trunks and an unbuttoned shirt, with an embarrassing stripe of white stuff over his nose which was prone to sunburn.  We jumped from our chairs and banged through the screen door, all a-bundle with towels, chairs, rafts, suntan lotion, playing cards, plastic buckets, and a thermos of Kool-Aid. Another container peeked out of Dad’s pocket: silver, small, and shiny, something he rarely went without.

The narrow board walk carried us over the last sand dune and I saw it: a blue-green expanse, white froth in stuttered lines across it. The sky a bold blue that stretched forever. Freddy and I dumped our belongings, kicked off our flip-flops, and dashed to the water. Susan remained with our parents, stretching herself on the blanket and slicking on suntan oil.

Waves crashed over me, surprisingly cold. At our salty feet, the undertow signaled a waning tide. It didn’t matter. Satan splashed me, and I splashed back, and we laughed and dove into a cresting wave. 

When we emerged, sputtering, soaked, and sandy, Dad met us ankle-deep in water. He handed us an inflated raft. “Take turns with this one until the other one’s ready,” he said.

Take turns, he said, like sharing was remotely possible. Freddy grabbed the raft, held it over his head, and trudged out to where the waves were breaking. When a big one surged, he hurled himself on top of the canvas float and rode it to shore like a cowboy on a bucking stallion. “YEEESSSS!” he yelled, as he climbed off.

“My turn,” I said.

“In a minute!” He sneered at me and hurried back to where the waves were cresting, no easy feat with the smaller waves slapping against him.

Another spectacular ride, and my jealousy erupted. When would I get a turn? When Dad finished blowing up the other raft? I glanced at the beach to find him engrossed in a card game with Susan, as though my uninflated float had no importance AT ALL.

“MY TURN!” I bellowed.

Freddy wagged the float at me, and I would have jumped on his head and dunked him if he’d been close enough.

            His third ride was a letdown, a smallish wave that fizzled a few feet from where he started. He stood up and shook sand from his swim trunks.
            “Ha!” I laughed at him.

He tossed the raft at me. “See if you can do better.”

I would do better. I tugged the raft out beyond the foamy sea caps, determined to find the biggest, most powerful wave which I’d ride like a rodeo champion. As the first few rolled under me, I looked further out, and saw it. A giant, magnificent wave rolling in.

I hopped aboard the raft and paddled as hard as I could, hoping to be just ahead of where it broke.  I timed it perfectly. It peaked, white froth exploding against the backs of my legs.

The raft took off like a Thoroughbred. I held on with all my might, holding my breath against the salty water splashing my face. Maybe my family watched this courageous ride, but I all I saw was the roiling foam.

My mount betrayed me. The raft swiveled, the back end pushing forward so that I was lying parallel to the wave. I stroked against the current, desperate to straighten, but it flipped over.

The force of the water pulled me under. I had no air in my lungs. My feet felt for the bottom, but instead felt the unmistakable tug of undertow pulling me out to sea.

I sank as low as I could, touched sand, and pushed, my hands pointed above me. For just a second, my face felt air and I sucked in a deep, frantic breath before another wave pounded me down.

Underwater again, I did my best to swim in what I hoped was the direction of shore. The undertow was a hungry force. My arms and legs ached against its power, but I kept on. When I bobbed up for another gulp of air, another wave knocked me under. And once again, I swam.

When I surfaced again, I saw the shore. Almost there, but not quite, and I felt so tired. A hand gripped my arm. I almost fought it, but I had no fight left in me, and the hand pulled and guided me until I stood on sand, safe, chest-deep in water.

“The float came in without you,” Freddy said, releasing my arm.

I nodded, unable to speak, as my air-deprived lungs sucked in breath.  

On the blanket on the beach, my mom thumbed through a magazine. My sister dealt cards to Dad, who sipped from his little container. 

“Maybe we should go up?” Freddy asked.

I shook my head. I trudged through the water to the shallowest part and dropped, my heels sinking into the wet sand. My brother sat beside me. The abandoned raft rested on the beach behind us. Three pelicans flew by, skimming the surface of the water.

“Hey, look!” Freddy said.

I tried to see what he was pointing to in the endless green water. It was less friendly than before. “What?”
            “Wait just a second. There!” He grabbed my hand and aimed it towards the descending sun. 

            Two gray lumps emerged, breaching the surface and arcing high above the water before submerging again. Two dolphin.

            “Whoa,” I whispered, not wanting to my voice to scare them away.  They erupted twice more, magic silver beings in a synchronized water ballet, before vanishing into the horizon.

            “Have you ever seen anything more beautiful?” I asked.

            Freddy didn’t answer.

Voices cut through the sea air from behind us: an argument between Mom and Dad about dinner arrangements. I let the pounding of the waves drown them out. For the next six days, I had the sand, my ocean, and one of two inflated rafts.

I would keep steady vigil, in case the dolphins came back.   

~~~~~

 Carla Damron is a social worker, advocate, and author of the novel The Stone Necklace, the recipient of the 2017 WFWA Star Award for Best Novel. Damron also authored the Caleb Knowles mysteries as well as numerous essays, and short stories. Damron’s careers of social worker and writer are hopelessly intertwined; all of her novels explore social justice. Currently Damron volunteers with Mutual Aid Midlands, League of Women Voters, and is the president of a local Sisters-in-Crime chapter. She works for Communities in Schools and Rutgers University. 

http://carladamron.com/

Fall Lines - a literary convergence vols. VII & VIII Releases Sunday Jan. 23 with a 2 pm Reading at Drayton Hall

Attention Fall Lines Contributors and Readers: If you are unable to attend the reading and release of Fall Lines on Sunday, please visit the Jasper Project Facebook Page where the event will be live streamed.

After too many Covid-related postponements, the Jasper Project is delighted to release the combined Volume VII and VIII issues of Fall Lines- a literary convergence on Sunday, January 23rd at Drayton Hall on the campus of the University of South Carolina. The event will begin at 2 pm.

Strict Covid protocols will be in place. Masks are mandatory except when reading. Only vaccinated contributors and guests are invited to attend.

Contributors to the 2020 and 2021 issues of Fall Lines are invited to choose one piece of their own poetry or prose from the dual-volume journal to read to the public.

Drayton Hall is located at 1214 College Street. Street parking is available. The public is invited to attend.

~~~

The Jasper Project shines a light of appreciation Columbia-based photographer Crush Rush, whose powerful portrait of a Black Lives Matter demonstration graces our cover.

from the One Columbia site above …

Crush Rush is a photographer/photojournalist living and working in Columbia, South Carolina. His photographic eye is keen on identifying and capturing the critical finite moments of ever moving human emotion and the natural world. Rush is self taught but was extremely lucky in his opportunity to work and play along with some of Columbia’s greatest photo makers which helped him hone his skills and gain a deeper appreciation for the craft.

 Known as a social chameleon, Rush constantly engages different types of people from different walks of life to find a common denominator in the grand scheme of things, which he feels allows for him to draw inspiration from very non traditional sources.

Artist Statement:

I feel like the best display of emotion is one that can be felt or portrayed with no words involved. My camera grants me the ability to take a person back to a moment in time by simply showing them a picture. I almost feel as if I have the power to steal grains from the sands of time. For me the love of editing is just as exciting as making the photo and I strive everyday to be a better storyteller.

Crush Rush - artist Easel Cathedral

Announcing the Accepted Contributions to 2021 Fall Lines - a literary convergence & Winners of the Broad River Prize for Prose and Saluda River Prize for Poetry

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The Jasper Project, in conjunction with Richland Library, One Columbia for Arts and Culture and Richland Library Friends & Family , is proud to announce the authors whose work has been accepted for publication in part II of the combined seventh and eighth edition of Fall Lines – a literary convergence, as well as the recipients of the 2021 Fall Lines Awards for the Saluda River Prize for Poetry and the Broad River Prize for Prose.

Congratulations to

Kasie Whitener whose short fiction, The Shower,

was selected from more than one hundred prose submissions as the winner of the Broad River Prize for Prose, and to

Angelo Geter, whose poem, Black Girl Fly,

was selected from more than 400 submissions as the winner of the Saluda River Prize for Poetry.

All additional contributors are listed below!

Judges for this year’s awards were

Randall David Cook for fiction and Nathalie Anderson for poetry. 

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Mark your calendar for Sunday October 17th at 3 pm for the 2020-2021 Fall Lines Release and Reading at the Main Branch of the Richland Library. All contributors are invited to read ONE piece from the combined issues. The event is free and open to the public!

All accepted contributors should send a 75-word bio to be included in the journal to editor@JasperColumbia.com

CONGRATULATIONS TO THE FOLLOWING!

Aida Rogers – From Proust to Gibbs

Hannah Pearson – Where the Fox and Hare Say Goodnight

Liesel Hamilton - Drifting

Susanne Kamata -  The Lump

Loli Molina Munoz - Distance(s)

Carla Damron - Breaking the Surface

Arthur McMaster - Connecting Flights

Kasie Whitener - The Shower

Tim Conroy - Pendleton Street

Debra Daniel - How to Make Peach Jam

 

Angelo Geter -  Black Girl Fly

Lisa Hase Jackson – Dead Birds of the Great Leap Forward

Ray McManus – When You Can’t Tell the Vine from the Branches

Landon Chapman – Odysseus

Ken McLaurin – Procrastination

Terri McCord – Sense Making

May O’Keefe Brady – Pandemic’s Box

Adam Corbett – The Keys and Gertrude Stein

Patricia Starek -  Glass Travels

Jenny Maxwell – My Father on Tap Dancing

Nicola Waldron – Peach Harvest

Ken Denk – Propitiating the Pulmonic Plague and After the Fight

Ruth Nicholson – At Congaree Swamp

Glenis Redmond – She Makes Me Think of Houses and For Dark-Skinned Black Women You Know it’s Not Just About the Red Lipstick

Judith Cumming Reese – Twilight Song

Eileen Scharenbroch – Sisters

Worthy Branson Evans – Blues For Want of a Blues Song

Kristine Hartvigsen – Journey

Roy Seeger – Alluvial Patterns

Randy Spencer – Invitation to the Plague and When it is Over

Betsy Thorne – Quarantined

Amanda Rachelle Warren – How Many Reasons for this Up and Gone

Jo Angela Edwins – The Lichtenberg Figure

Susan Craig – Tell Me it is Enough

Danielle Ann Verwers – When the Lights Go Out

Ann-Chadwell Humphries – Golden Boy

Austin Hehir – Human

Libby Bernardin – Dear October

Horace Mungin – Flip of the Two-Headed Coin

Melanie McClellan Hartnett – untitled

Al Black – Prayers in the Spectrum

John Lane – Two Rifts on Montale

Gil Allen – The Chosen

Jane Zenger – What I Will Do For You

Lisa Johnson-McVety – Sad Feet

 

NiA Returns with Two New Performances: Fan-Favorite Show HOLLA! and Thought-Provoking Play Eavesdropping

“This is my way, and our way, of saying we love you, too”

Darion McCloud with Friends

Darion McCloud with Friends

Local theatre company NiA was one of the many organizations impacted by the COVID-19 pandemic. Now, in these semi-post-pandemic times, NiA is performing their first large-scale in-person event in months. Over the next two Saturdays, NiA will be showcasing a long-loved project and a newer venture, as well.

Darion McCloud, who has led NiA for 23 years, discusses how difficult it was to not be able to perform during the times when people needed it the most, especially when their mission is rooted in storytelling and literacy.

“That's what we're about. We're about telling stories that don't usually get told, for people that you don't usually get a chance to hear them,” McCloud shares, “COVID effectively shut us down. We had a few small ventures out there: one or two with One Columbia, a Kids in Print for Richland Library, and one called Cocky's Reading Express from the University of South Carolina.” 

Now, the group is coming back with two events, four performances, repeating on two consecutive weekends. HOLLA! a NiA “family staple,” will kick off both Saturdays at 10am, and Eavesdropping, a play by Crystal Aldamuy, will end both Saturdays at 9pm. HOLLA! is a family show for all ages, and Eavesdropping is aimed at adult audiences. 

McCloud says the shows the group are doing are a direct response to the outpouring of love that not only NiA received over the pandemic, but that he himself benefitted from after a serious stroke. This performance is not just a comeback but a way to say thank you.

 “This is my way, and our way, of saying we love you, too. That's why it was important for these shows to be free,” McCloud reveals, “We want these shows to be free to our people, the city, free to anyone who wants to come and who wants to enjoy.” 

HOLLA! was the first event NiA ever did, starting back in 1998 for Somali Bantu, and is a multimedia event that changes in shape, style, and participants each time. For this performance, NiA is featuring the Upstart Crows, a local Shakespeare Company of young actors. The same show will take place both Saturdays, but there will be slight differences due to the spontaneous nature of the event. 

“HOLLA! is exactly what it says—it's big, it's loud, it's color. There's music, there's a lot of laughing, spontaneous dancing, storytelling, finger plays, and more,” McCloud effuses, “And it's for everybody; if you're an old dude like me and you come through, you think you're just coming with the kids, but you're going to find yourself caught up in the fun, too.” 

In contrast, Eavesdropping is a short play in 5 vignettes that addresses themes surrounding love, loss, and living. Aldamuy, who has worked with NiA before, was driven to write this play by her desire to experiment with fully colorblind casting, where any race or gender could fill a role. Aldamuy started writing small sketches, and then combined 5 into this play. 

“This piece is designed for playing with and exploring motivation and subtext, as well as gender, race, sexuality, and age in relationships,” Aldamuy intimates, “And how the audience, as voyeurs, makes assumptions about the deeper meaning behind someone else’s words based on what they look like and who they are talking to.” 

The five vignettes are as follows: First Impressions—two people on their first date; The Long Road Home—a person meets with their ex-spouse’s lover; Final Thoughts—estranged siblings wait for their mother’s ashes; Circling—old loves bump into each other after nearly a decade apart; Collison Course—two people meet on the anniversary of their mutual friend’s death.

The first act will be true to script and fairly identical both weekends; however, after a short intermission, the second act will see audience interaction, with people watching called up to audition and perform previous scenes of the play. 

“After the act break, we're going to ask the audience to come up, and we're going to run it like an audition. We hand them a script right there, but me and the audience are the casting director, so I get to say, ‘Okay, that was really good, Kevin. Could you do the scene again in an English accent?’” McCloud details, “So we get to have fun like that, but also people get to think about how an individual actor impacts a scene. It's a little bit of education, but it's a lot of fun.” 

NiA knew it was time to come back and start telling stories again—audiences needed to engage, with art on the stage and with one another. They chose these shows both for the level of audience interaction and because they are easily manageable under the safety precautions NiA is following for COVID-19.  

The performances will happen on Saturday, June 19, and Saturday, June 26, at their CO-OP at 1013 Duke Street with HOLLA! at 10am and Eavesdropping at 9pm both weekends. There will be outdoor seating, Porta Johns, and safety precautions in place for the safety of patrons. The event is free and first-come, first-served—approximately 100 people can be accommodated.  

“We hope there will be a lot of fun afterwards as well for people who want to hang out and talk about the show,” McCloud offers, “We're just hoping you come, bring yourself, your imagination, your fun, and hopefully a friend too.” 

McCloud would like to thank several people helping as performers and behind the scenes: Heather McCue, Joseph Eisenriech, Lonetta Thompson, Katie Mixon, Deon Turner, Beth Dehart, and JB Frush-Marple with special thanks to One Columbia for sponsoring.

 

If you’d like to support NiA, you can give to their GoFundMe, which was initiated, after not making money for a year, to fund their return to performances and has stayed open for additional support: https://gofund.me/cc1cff68

 

—Christina Xan

Jasper Project Finds New Home at 1013 Co-Op - More Details from Lee Snelgrove & One Columbia

Jasper Project board of directors members Laura Garner Hine (far left) and Al Black (far right) join board president Wade Sellers and ED Cindi Boiter at the new Jasper Project home

Jasper Project board of directors members Laura Garner Hine (far left) and Al Black (far right) join board president Wade Sellers and ED Cindi Boiter at the new Jasper Project home

Homeless since the closing of the Tapp’s Arts Center on Main Street last winter, the Jasper Project finally has a place to hang its hat at the newly formed 1013 Co-Op at 1013 Duke Avenue in the old Indie Grits Lab building.

The Jasper Project will share upstairs office space in the house along with the Columbia Children’s Theatre and The Magic Purple Circle, presented by artist and storyteller Darion McCloud. One Columbia for Arts and Culture will manage the co-op space which includes a downstairs with two rooms large enough for salons, readings, and meetings, as well as a kitchen and a central stairwell. But at Jasper, we are most excited about the many ways we look forward to using the large backyard such as presenting film screenings, concerts, and outdoor stage presentations and readings.

Jasper is indebted to Lee Snelgrove, Jemimah Ekah, and One Columbia Arts and Culture for inviting Jasper to join the co-op. We contacted Snelgrove and asked him to share a few more details about the Co-Op and how the arrangement will work.

JASPER: How long has this plan been in the works?

SNELGROVE: The development of the 1013 Co-Op has been discussed by the Board of One Columbia since about April or May. When Indie Grits decided to move out of the space, they contacted me to suggest that we might look into taking over the house. They had put in a lot of work into creating a cultural space in North Columbia and they were concerned that their efforts would be redirected to non-arts purposes. Because of our concern that a cultural space would be lost, we started talks with Lenoir-Rhyne, the property owner, around that time to discuss the terms of the lease and to develop a suitable arrangement that would work. Once it seemed like a viable project that could be reasonably managed with One Columbia's existing resources, we started to reach out to potential partner organizations to make it a reality. 

JASPER: How were the organizations involved chosen?

SNELGROVE: One Columbia contacted many of the organizations that already utilize office and administrative resources that One Columbia offers. We also talked to potential partners that we knew were interested in working with communities in the North Columbia area. From these conversations it was the Columbia Children's Theatre, the Magic Purple Circle and the Jasper Project that elected to partner and join the mission of the 1013 Co-Op. 

JASPER: What do you expect/hope for out of this arrangement?

SNELGROVE: The goals for this cultural space and the partnerships with the three organizations align with some of the recommendations of the Amplify cultural plan. We expect that this arrangement will lead to better access for citizens in the North Columbia communities to cultural experiences and participation in the arts, as well as additional space that supports the work of Columbia's artists. We want to work directly with neighborhoods to identify their cultural resources and help them create plans that facilitate more cultural participation. And, we want this space to showcase how a community arts space with strong partnerships among community organizations can become a vital and vibrant destination. 

JASPER: Can you please tell us more about how the Co-Op will operate in terms of rent, OC's role in managing the space and subsidizing the extra costs, etc.

SNELGROVE: The 1013 Co-Op is structured as a partnership among four organizations that share the different kinds of costs of maintaining a cultural space. One Columbia is the lead organization responsible for the lease, communication with the property owner, and the day-to-day administration of the facility, but all of the organizations share both financial and labor responsibilities to keep the space operational. Each organization provides a monthly amount to cover expenses like rent and power and each organization will put in a number of volunteer hours to support the work of their partner organizations and to the functioning of the entire space. We've developed a structure that we hope will provide the flexibility that some arts organizations need by not requiring time commitments and keeping the costs low. It's very likely that partnerships will develop and change over time and partner organizations will come into the space or depart as is appropriate for them to carry out their own missions and/or to support the overall mission of the 1013 Co-Op. 

Thanks, Lee!

The Jasper Project is already developing plans for a community liaison committee, a neighborhood editor for Jasper Magazine, and a monthly Saturday or Sunday afternoon neighborhood picnic with poetry readings and open mic opportunities. But, like the rest of the world, all we can do now is sit on our hands and make plans for when the pandemic lifts and we can safely do our thing.

And we are always looking for volunteers. Please reach out if you’d like to get involved.

WELCOME to our new space!

WELCOME to our new space!

“Balancing Act” – Artist Paul Yanko talks about the mural he and spouse Enid Williams created at Trenholm Plaza

by Mary Catherine Ballou

Photo courtesy of Paul Yanko

Over the summer, a mural emerged on one of the exterior walls of Trenholm Plaza, a shopping center located in the heart of Forest Acres.  Before its appearance, few examples of public art existed in this area.  Upon discovering this intriguing abstract rendering, Jasper intern Mary Catherine Ballou conducted with the mural’s artist, Paul Yanko.

 

Commissioned by EDENS (the longtime Trenholm Plaza property owners), Greenville-based artist Yanko painted the mural with help from his wife, artist Enid Williams. Yanko, an accomplished abstract painter and visual art teacher at the South Carolina Governor’s School for the Arts and Humanities (where he has been teaching for 13 years), completed the mural over the course of three months, working through the scorching heat from June through August to bring a lively and colorful display of public art to the community.

 

In the following interview, Yanko kindly provides information about his artistic history, how the mural developed, and his hopes for the mural’s impact on the community at-large.

 

Jasper: Please tell us about your artistic background.

Yanko: “I am originally from Northeast Ohio and I relocated to South Carolina in 2004 to teach full time at the South Carolina Governors School for the Arts and Humanities.  Prior to moving, I attended the Cleveland Institute of Art from 1986 to 1991.  I received a BFA in 1991 in Illustration, then I went back to graduate school to pursue an MFA in Painting, which I received in 1995.  Upon receiving my MFA, my wife, Enid Williams (Visual Arts Instructor at Greenville Technical College), and I occupied a studio in Ohio for eight years, so we really built our careers in Northeast Ohio, exhibiting regionally and nationally.  Then we moved to South Carolina…and have continued to exhibit regionally and nationally.”

 

Please describe your artistic process what inspired you to create this mural?

“That place [Trenholm Plaza] was designated by the property management company [EDENS], [but] the project was delayed slightly because of the flooding [in October 2015].  I made an initial visit to the site [during the summer of 2015], just to get a firsthand sense of the scale and overall surroundings.  That was [with] Mary Gilkerson from One Columbia and also a faculty member from Columbia College.  We made a time to meet up and I visited the Plaza in July of 2015 and got a sense of the actual dimensions and scale.  I was impressed with the renovations that had taken place in the Plaza.  I was struck by the combination of materials used – the wood combined with some of the tiling, and gridded meshed columns…with vines trailing up.  I was just kind of taking in everything that my first impressions were giving me, along with the fact that EDENS was looking for somebody [with] very broad, very open parameters…something very upbeat, lively.  I appreciated the fact that they weren’t requesting something so specific – it was open to 3D work as well – but for me as a painter, my response, my considerations for the proposal shifted to my area of expertise.

 

I started thinking about a palette – I recalled some site-specific works that I did in the early 2000s – 8-hour drawings at a college in Pennsylvania [and] 48 hours of making art [at] another college…[we were] given a weekend to camp in the gallery [and] assigned an area to create a work in 48 hours.  I collected an assortment of rollers, brushers, miscellaneous paints, ladders, and just rolled up my sleeves and got to work on it – 15 feet by 15 feet...You just have to plan and execute – it’s a very different way of organizing your time and activates compared to what you might typically do in the studio.

 

Those earlier projects provided a kind of frame of reference for this project.  I went back to using rollers in various sizes, lots of masking tape, a level, straight edges – pretty simple, straightforward tools.  It just became a matter of chalking off lines with Enid’s help – she was a big help on this project.  Once I did the layout, she or I would come back and tape and start rolling in those areas with an assortment of latex colors – gallon quantities of commercial latex paint – just to ensure there would be enough material for the size of the project, [and] organized a pallet of about nine colors.  I wanted the palette to correspond to impressions, sensations that I had taken in from the environment, also keeping in mind the location of the mural.  That particular context had a big drive in my palette.  [Then] I presented a proposal, artistic background, concept budget, and loose timetable for executing the work…

 

My current work in the studio – the process I employ of layering, masking, [and] building surface qualities guided my direction for the decisions for the proposal…kind of a combination of some previous installation projects.  Also, Enid and I executed a large mural in a public recreation center in the late 90s – we did that collaboratively so there were some past instances, but it also relates to my thought processes in the studio and on canvas.”

 

yanko 2

How different is it planning and painting an outdoor public mural compared to an in-studio piece?

“There’s certainly an awareness that’s timed in the studio [but] you do have to think about time differently [when working outside in a public space].  There’s a dry time [and] there are considerations about weather conditions.  I also teach full time, so the summer was really the only time to have this kind of continuity, opportunity to work – so summer just became the time to do or die.  My schedule is pretty…regimented anyway – it definitely has to be that way with the mural – [taking into consideration] traffic, do I have enough water, do I bring a lunch, do I have the right supplies because it’s not easy to stop.  It’s a little bit like comments I’ve heard from friends and family who do a little bit of backpacking [or] camping, in the way you have to organize yourself and get materials ready for the day, preplanning the night before.  Oftentimes our conversations for the day would be ‘We’re going to do the gray, blue, orange [colors today]…’”

 

How would you describe the experience of painting a mural in such a public forum? What’s the status of the mural now?

“It’s done – we made a big start in June – then we worked quite a bit through July on the project, and a little bit in August – just tried to consider the weather and timing.  It has been an exceptionally hot summer – no big surprises there.  We timed it for working a little bit earlier in the afternoon, so that was most productive for us.  We’ve been connected, been a part of the Columbia art scene for many years, [but] we decided to commute back and forth on the project.  I think having some time in-between the sessions of painting were helpful – just to think about other projects…in the studio [and] exhibitions to prepare for this summer.  It was a little bit of a juggling act.  That led me to titling the piece “Balancing Act”, which refers to time on the project, referring to what’s occurring in the mural itself – interaction of color and shape, how some of the elements seem to be leaning and precariously placed, buttressed by others, and (thirdly I would say) it makes a reference to the activity, the conversations that I was sort of exposed to, the clients, the patrons of the plaza.

 

When you’re working on a mural, you’re kind of on a rail like the track of an old electric typewriter – you’re going back and forth, up and down, back and forth, so you’re on this track while you’re working and this current of people [are] behind you in the Plaza.  It doesn’t stop – you overhear folks talking about their schedule for the day or picking up outfits – there’s this current in life moving on around you.  I think it might have been designated as a Pokémon hot spot – I saw a few younger kids face down following their phones stopping by the mural.  So there’s a little cultural thing going on – everyone will remember that was the summer that went on.  It’s very different working privately in the studio – a lot of questions were presented [and] the public couldn’t have been more supportive.  They had great questions, interest, enthusiasm for the project – they felt it was a favorable addition…”

 

yanko 3

 

How would you describe this mural? What feelings or emotions do you hope to convey through the mural?

“It’s abstract, a configuration of color, shape, using a simple vocabulary to build layer into something complex – it’s just taking in impressions and recreating those in a language of color and shape.  I used to title old paintings [for example] ‘Old Section, New Section’, [like the process of] building in a community – I sort of see this corresponding to my project.  I was really impressed to learn about what the Plaza meant to the community in the past – how this…is a real renovation template for EDENS, it seems to have gotten a revitalized interest and strong support from the community.  The general public was great – I got responses and remarks from small children to teens to adults…

 

I would like it to be engaging, through its complexity.  I would hope that people would be compelled to stop and allow their eye to find different points of entry – kind of navigate the network of lines, of stripes connecting messaging in the mural.  I would hope that it will provide something to serve as a point of discussion, to promote some dialogue, to elicit some kind of commentary – hopefully favorable in opinion – because viewing an actual painting [or] mural is not a passive thing – it’s not exactly like advertising along the highway.  I think it asks, hopefully, that the viewer return and notice something different and reconnect with it.  I’ve heard people comment about how it looks at night – I haven’t seen it at night yet – possibly at different times of the day, different weather conditions, different perceptions of it.  I prefer engagement and curiosity, and a reengagement.

 

I’d like it to kind of integrate itself in the community…and hopefully over time be regarded as a public sculpture or some other type of mural or artwork that already exists in Columbia.  The best outcome would be having it regarded favorably.  That’s a byproduct of working in the community…there’s people offering their opinions…you feel a connection with the community, you talk to people, get to know the staff of the Plaza, feel like a part of you is there.  This is a much larger audience, compared with a private collector [or] buyer.  I spoke to a broad range of [people]…you’re reminded of how diverse the community really is…”

 

yanko 5

Why do you think this public art is important for the community?

“It’s original, it forms a connection to the community in a very unique way that other projects might not – there’s a face to it, there’s a history, there’s a documentation of the process, there’s a record of the whole thing.  It’s not going to exist somewhere else in exactly [the] same incarnation…

 

It’s giving the community something unique.  It was created in the context of working in collaboration with a company like EDENS that is based in the community.  People can say that they saw the mural from the day that we started up to this point – so they feel a little bit of an investment.  Hopefully it will be a point of entry for someone interested in art – create a little interest that leads them going back to the Columbia Museum of Art [or] State Museum – showing them something that can exist outside of those institutions but still maybe have a connection.  I think that’s the value of what it can hold.

 

I think I would consider color [and] the consideration of shape very differently in another community.  As an abstract painter, I can say it has changed maybe gradually.  I think my work would have gone on a different trajectory had I not moved, but maybe not because you’re working out of your head and no matter where you live you still draw from that.  I didn’t want to artificially…embrace working in a different way just because I moved [from Ohio to South Carolina].  I think that maybe the conditions of lighting, the climate have made slow, more nuanced subtle changes in my work – that kind of thing influences how I go about collecting color.”

 

Do you have any future mural projects in-store that you want to tell Jasper readers about?

“I’m working on a project…in collaboration with Lululemon athletic attire.  I was approached about a year ago from them to develop work in partnership with their designer for a store opening in Greenville.  It’s going to be a very different type of appearance and approach altogether.”

 

Any closing remarks?

“A nice feature about this project [at Trenholm Plaza] – I developed the concept [and] my wife and I executed the work.  That creates a different level of investment…I’m not acting as a hired hand to execute the work from start to finish. My role has been from planning, to execution, to purchasing the materials.  I don’t have a [business] card and I don’t paint murals all the time – I think it would be a very different type of mural if a fulltime muralist had been contracted.  My work is not coming out of other mural projects as much as it does out of things in the studio – [and] informed by some of those earlier projects.  I do think it’d be a very different project if it were executed by a full-time mural team.

 

I’m really grateful to have been selected – it was a really productive experience.  At the end of the day, I just want the community to feel a kind of connection to the work – part of that can be felt [by the fact that] we were just painting out in the open.  People can see what was going on, [it] give[s] everybody a chance to acclimate to the changes over time – [I] enjoyed that approach instead of a big unveiling at the end.”

 

yanko 6

 

A dedication ceremony for the mural will take place on September 21st at 10:30AM in Trenholm Plaza. For more information about the artist, please visit http://www.paulyanko.org/.

 

Tuesday is MAKE MUSIC DAY brought to you by One Columbia and friends

make music cola  

This Tuesday, June 21, Columbia will take part in its second annual Make Music Columbia event. Music will be played just about everywhere, from Five Points, Main Street, the State House, Lexington and more. It’s a perfect indoor and outdoor event for music-lovers of all ages to experience all sorts of music, happening from 9 am – 9 pm. There will be music of all styles, from rock, hip hop, folk, jazz, experimental and anything in between.

Make Music Columbia is part of a broader network that is the Make Music Day Alliance. The first Make Music Day was in France in 1982, and it is now a worldwide event, with over 700 cities in 120 countries participating. It happens each year on the summer solstice, a great way to celebrate the longest day of the year.

Anyone is free to participate in Make Music Columbia, and there will be a number of mass appeals, which are large groups of people playing the same instruments together. These will take place at the State House, and anyone is welcome to walk up and join in. They’ll have ukulele songbooks, harmonicas and more for the crowd. No musical skill required!

There will be buskers all around the city along with other organized concerts, which are all free and open to the public. People are also welcomed and encouraged to sign up to either host or perform. This is primarily a collaborative effort, made possible by the committed work of One Columbia, Rice Music House and WXRY FM.

OVER 64 ARTISTS!

MORE THAN 25 VENUES!

ANOTHER CITY-ENHANCING EVENT FROM YOUR FRIENDS AT ONE COLUMBIA

Most performances can be caught in Five Points, Main Street, and The Village at Sandhills, and there will be outdoor concerts at Tapp’s Arts Center and The Lula Drake on Main Street. There are still a lot more places to enjoy performances, and these can be found at makemusiccolumbia.org.

“The idea is to create so much music that people encounter it during their daily activities,” says Ashleigh Lancaster, Office Manager at One Columbia. “The idea that you can fill a whole city with performances like that is really exciting… It makes the streets feel so alive.”

Lancaster believes this is a great event for Columbia to be able to participate in a worldwide event while also enjoying the stress–relieving qualities of music. It can put a smile on people’s faces, and give them the opportunity to let go during the week.

 

THREE MASS APPEALS:

  • First up – Join the Sound Circle!  Led by Girls Rock Columbia, make music using your voice – strange noises, bleeps, boops, even screams come together to create a unique chorus! Starts around 6pm.
  • Then – Learn the Harmonica! Thanks to Hohner, we’ll be handing out 100 free harmonicas! Walk right up and learn how to play – then we’ll try our new skills as a group. Starts around 6:30pm.
  • And, then – Uke it Up! The Cola Ukulele Band will perform their sweet tunes for you, but not before teaching you a few things they’ve learned! Be sure to bring your ukulele. There will be some books on hand with sheet music. Starts around 7:15pm 

 

So no matter how talented or less-than-talented you feel in your musical abilities, Lancaster and all the other good folks organizing Make Music Columbia invite you to make or just enjoy some music this Tuesday, June 21. It’ll be a great way to celebrate the summer solstice, and join the worldwide Fête de la Musique (meaning both “festival of music” and “make music” in French).

Hand music

 

-- Ony Ratsimbaharison

Line Up of Fun for Jasper Release Party Monday Night

jasper presents

Big Art Fun at GUESSWORK Studio

 

We've seen this happen before.

Jasper starts out planning to celebrate the release of the newest issue of the magazine with an informal gathering of artists and arts lovers at a local studio or gallery. Keeping it simple. No big deal.

Then someone has an idea for a cool performance or activity. A band or two is interested in playing. What if we did this? Or this? Damn Y'all, let's just do this!

The next thing we know a big old hairy artball is rolling down the hill and, this time, it's landing with a splat at Billy Guess's very cool new studio space GUESSWORK on Avondale Road.

(You know you don't want to miss this thing.)

Here's what to expect Monday night, starting about 7, at the release celebration of the 29th issue of Jasper Magazine.

Hold on tight.

 

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Music by Tyler Godon

Music by the Mustache Brothers

Art by Billy Guess, Khris Coolidge, and (fingers crossed) Jasper's own visual arts editor, Kara Gunter

Michael Krajewski will be channeling Dave Chappell channeling Prince and making Prince symbol-shaped pancakes - Billy will be providing a pancake toppings bar

On a big blow-up outdoor screen, Wade Sellers will be sharing his film 25 Artists, which features - you guessed it - 25 Artists from Columbia

Barry Wheeler will be creating a video of you and 100 of your closest friends playing a One Columbia kazoo in a weird blend of the arts and patriotism as we create the Columbia Arts Community's Memorial Day Message to the Universe

Bier Doc will be grilling up cheap hot dogs and supper will only cost you a dollar (Or you can wrap those dogs in a pancake to make pan dogs/hot cakes)

Annie will be selling you bottomless cups of good beer and decent wine

And last but not least, you'll get your hands on a fresh hot copy of the 29th issue of

Jasper Magazine!

____℘℘℘℘℘____

When was the last time you had this much fun on a Monday night?

See  you about 7 at 955 Avondale Drive, a couple blocks off North Main right after the intersection at Sunset

Bring a lawn chair and be ready to have a big old time!

Jasper leaf logo

Love,

Jasper

What One Columbia Has Done for You & How You Can Return the Favor - Addresses, Talking Points, and More

(For letter-writing talking points, please skip to the bottom of the page.)

One columbia

 “A place without a distinctive cultural aura is much less apt to land on visitors’ itineraries than those with such amenities. There is no easy way of accounting for this economic impact, beyond affirming that tourism, a form of direct participatory experience, is one of the world’s largest industries and is closely tied to creative destinations.”

--From “Creative Placemaking”

The Mayors’ Institute on City Design, a leadership initiative of the National Endowment for the Arts in partnership with the United States Conference of Mayors and American Architectural Foundation.

One Columbia's Mission: to advise, amplify and advocate for strengthening and unifying the arts and history community by supporting arts and historic preservation tourism, promoting collaboration, coordinating advertisements, and celebrating the role of arts and history in this community

AMPLIFY

One Columbia creates a Comprehensive Calendar of Arts and History Events that shares information on typically about 150 active events at any given time and over 330 registered organizations that submit events and a weekly email of weekend activities that reaches over 9,000 people both in the Columbia market and beyond and includes social media promotion throughout the week

One Month was a Citywide, month-long celebration of the arts as a whole featuring special events and connections between established events during the month of April. This project was converted to the Cultural Passport program in Fall 2013 which was designed to provide more opportunities for engagement between the over 75 participating arts organizations and their audiences. Over 5000 were distributed in addition to the creation of an application for iPhone

Film Columbia/Capture One Columbia  is an initiative to collect video footage of events throughout the city of all different types for marketing and promotional purposes, resulting in 21 finished videos and over 700 Gb of raw video footage that is available to all arts organizations, media, organizations that promote the city

Public Art is another way One Columbia is creating unique spaces around the city that demonstrate creative talent and establish more vibrant places to live, work and visit. One Columbia formalized a program with the City of Columbia in 2014 that has led to three significant sculptures (two on Main Street, one in the Vista) adding over $55,000 in value to the City’s art collection. The formal program has inspired collaborative efforts with Richland Library (resulting in over $375,000 in value), Kroger Supermarkets (approximately $12,000), Edens (approximately $10,000) and the Columbia Metropolitan Airport (approximately $250,000 over the next 10 years). One Columbia has also developed a community of buskers and street performers to enhance the visitor experience and demonstrate artistic talent. It has also enrolled Columbia to participate in national arts celebrations such as International Make Music Day (June 21) and National Poetry Month (April).

One Columbia is hosting an Art-o-mat, a former cigarette machine that has been converted to dispense $5 pieces of handmade art, which will help engage the public in art by making it accessible, but also encouraging Columbia’s artists to participate and get their name in one of the over 100 active machines throughout the country.

Established the position of Poet Laureate for an individual to bring awareness of the city as an arts hub outside the city and create projects that enhance Columbian’s daily lives through the arts. Ed Madden, the inaugural poet laureate, has created a project to display poetry on the bus system and to celebrate National Poetry Month by putting poetry on coffee sleeves

ADVISE

One Columbia provides basic resources for arts organizations and artists, including office/meeting space, permanent mailing address, video and still cameras, easels, copies and prints and Notary Public services.

It brings together organizations to increase the size, scope and level of awareness of events including the 150th Anniversary of the Burning of Columbia (nearly 30 participating organizations) and the creation of the city’s first cultural district in the Congaree Vista as part of a program offered by the South Carolina Arts Commission

It facilitates leadership transitions for events such as First Thursday on Main, Deckle Edge Literary Festival to replace the SCBF, and adding artistic elements to Artista Vista, Indie Grits, Hip Hop Family Day and others.

ADVOCATE 

Identifies strategic needs of the arts community through meetings with arts leaders.

Utilizes opportunities to determine and share key data points that benefit arts organizations and make them more competitive for support from regional and national sources of support including a Creative Industry Report completed by WESTAF and the upcoming follow-up to the Arts and Economic Prosperity study with the Americans for the Arts  - Where are we going from here?

One Columbia will continue to work toward a more unified arts community and will assist in connecting the city’s arts and historic preservation communities to regional and national resources.

More emphasis will be placed on developing a long-term vision for the arts in the city.

Public art projects will expand through work with private partners and more emphasis will be placed on the improvement of public and quasi-public spaces under the principles of creative placemaking.

More collaborative activities under unified themes will be developed that bring together all art forms and create greater recognition of the city throughout the region, nation and globe

What You Should Know

In a memorandum from City Manager Ms. Teresa Wilson dated September 3, 2013, the City determined “that One Columbia’s proposed mission and budget are activities that constitute advertisement and promotions related to tourism development under the Hospitality Act and as such, operating activities of One Columbia are eligible expenses to receive funds under the Act.”

One Columbia for Arts & History was supported with 2015-2016 Hospitality Tax funding at the level of $167,600. The organization has utilized these funds to continue work toward the mission of the organization to advise, amplify and advocate for strengthening and unifying the arts and history community by supporting arts and historic preservation tourism, promoting collaboration, coordinating advertisements, and celebrating the role of arts and history in this community.

In the past year, the organization has taken great steps in accomplishing this mission. To better amplify the arts community’s work and based on the principle that passports provide access to new experiences, One Columbia has continued it’s cultural passport program for Columbians to utilize when attending events and venues in our city. With over 100 organizations and venues participating, passport holders collect unique stamps across various genres of art and history. As they collect stamps, they become eligible for perks including gift cards, art supplies, t-shirts, and event tickets. Passports come in the form of printed booklets or a free iPhone application to make the program as accessible as possible. This program amplifies awareness about the extent of the arts community and allows arts organizations to connect with their growing audiences. Thus far, over 5,000 passports have been distributed at a full range of cultural events.

The organization has made significant progress in establishing its process for public art and has installed the first works created as a result of the process. Pieces created as part of this formal process are privately funded and publicly owned and maintained. One Columbia installed two new pieces of public art on Columbia’s Main Street in 2014 and one new piece on Lincoln Street in the Congaree Vista in 2015, equivalent to approximately $55,000 new public art investment in the City. One Columbia has adapted the program to assist in projects that are sponsored by private property owners or developers and has initiated projects with the Richland Library, Kroger Supermarkets, and the Columbia Metropolitan Airport. By working with the Richland Library, One Columbia will have coordinated artist identification and project selection of pieces of art for nine renovated locations of the library representing over $375,000 of public art investment in the Midlands in the next year.

In June 2015, in collaboration with Rice Music House and WXRY FM, the city of Columbia participated in international Make Music Day. The day featured free, live, outdoor concerts in various districts of the city, as well as a central event where 100 free harmonicas were distributed to participants.

One Columbia has also worked with Indie Grits in expanding its arts component, including the coordination of a mural space on the corner of Main and Taylor streets that changes annually. For the 2015 Indie Grits, One Columbia coordinated two major outdoor art installations and hosted an artist-in-residence that focused on the City’s history and monuments.

One Columbia has also started the development of a true community of buskers to bring the arts out onto the streets an into the daily lives of the city’s citizens.

To get more art in the hands of more people and inspire citizens to start art collections in an affordable and fun way, One Columbia has become a host of an official Art-o-mat. The converted cigarette machine vends small pieces of unique art. The machine will be placed at various venues throughout the city. One Columbia partnered with Izms of Art to create Art Linc, a celebration of chalk art in the Lincoln Street Tunnel that was held on November 7.

To further celebrate the artistic identity of the Congaree Vista, One Columbia worked with the Vista Guild to bring together a plethora of stakeholders in order to develop a strategic plan and application for the creation of a formal cultural district as recognized by the South Carolina Arts Commission.

In conjunction with the goals of offering Columbia’s citizens ample opportunities to engage with art, the organization has worked with the City of Columbia to establish the Gallery at City Hall.

One Columbia for Arts & History again served as a major partner in carrying out the One Book, One Community program. One Book, One Community seeks to engage the community in a reading project by selecting one book to read together during the month of February. This year’s selection was The Stone Necklace by Carla Damron, and programming was strongly connected with the activities of the Deckle Edge Literary Festival.

New partnerships were forged including one with The State Newspaper, which serialized the chapters One Columbia has also partnered with Jasper Magazine, the Richland Library and the USC Press to distribute Fall Lines, a free literary journal featuring the writing of Columbians and South Carolinians.

In an effort to increase Columbia’s profile as an artistic city, One Columbia worked with the Mayor and City Council to establish the office of poet laureate for the city. In Resolution R-2014- 081, City Council permitted One Columbia to carry out a process for identification and selection of a poet laureate to serve a four-year term in order to represent the city’s rich literary tradition and to carry out activities that engage citizens with poetry and language. Ed Madden began his term as the City’s inaugural poet laureate in January 2015 and since then, One Columbia and Dr. Madden have worked together to create a project with The COMET bus system to feature poetry themed around life in a city on each of the buses in the system. They also created a chapbook of the collected poems and the poems about transportation are featured on the printed bus schedules. This project will continue in 2016 with the theme focused on rivers.

One Columbia has put great effort into commissioning and collecting video footage of various arts and cultural events throughout the City. The collected footage is freely available to arts organizations, tourist organizations, promotional groups, and media organizations to feature the vibrancy and diversity of Columbia’s cultural life and can be viewed as part of our Film Columbia initiative at https://vimeo.com/onecolumbia.

In association with the Americans for the Arts, One Columbia will be collecting over 800 surveys regarding the spending of attendees at the diverse arts events throughout 2016. This data will result in an economic impact study of the arts of the greater Columbia area including Richland and Lexington counties and builds on a similar study that was done in partnership with the Cultural Council of Richland and Lexington Counties in 2010. This data will be important in giving arts organizations necessary context for their impact and help them when applying for grants and donations for future programming.

In 2013, the City of Columbia lost a highly respected and valued citizen upon the passing of Mr. Steve Morrison. Mr. Morrison had been a visionary of the arts community and the chair of the One Columbia board of directors. To honor him, One Columbia established the Steve Morrison Visionary Award to recognize an individual in our community that has brought foresight and ambition to the development of Columbia’s cultural life. This past year, the organization selected the recipient to be Mr. William Starrett, the executive director and artistic director of the Columbia City Ballet. The presentation took place in front of a full house at the fall concert of the SC Philharmonic.

One Columbia has led the way to transition First Thursdays on Main to new leadership made of Main Street’s important stakeholders ensuring the continuity of a vital activity that brings a significant amount of visitors out to the City’s main thoroughfare 12 evenings a year. One Columbia assists with planning and connecting organizations and artists that can create unique and interesting content to each month’s activities.

And, at the announcement of the cancellation of the South Carolina Book Festival by the Humanities Council SC, One Columbia has worked with partners to develop a new replacement literary festival to fill the void. This event saw a successful inaugural year featuring over 70 authors bringing nearly 1000 participants to Columbia’s Main Street.

One Columbia for Arts & History is very grateful for your recognition of the enduring value of the arts and historic preservation in advancing Columbia’s standing as a vibrant community where creativity and preservation can be fostered to the benefit of residents and visitors alike. 

_____

If you would like to express your appreciation of One Columbia and your desire that the organization continue to be fully funded by the City of Columbia please write to the following individuals:

skbenjamin@columbiasc.net
mobaddourah@columbiasc.net
heduvall@columbiasc.net
ehmcdowell@columbiasc.net
Talking Points:
  • One Columbia’s structure and line item, H tax-funded budget were designed, voted upon, and approved by City Council in 2012.
  • It should not be incumbent upon the employees of a city office to create the funding for their own salary and operating expenses.
  • One Columbia cannot carry out their mission if they also have to compete for funding with the arts organizations and individual artists they serve.
  • One Columbia has become an integral and indispensable part of the Columbia arts community. (Please consider using examples of ways you have been impacted by the work of One Columbia from the comprehensive text above.)
  • The issue boils down to whether Council understands that the city needs an organization to work as an objective office of cultural affairs charged with helping the entire arts community and that it can be funded in a variety of ways.
  • Members of City Council should not use the arts and One Columbia as weapons in a power play against the mayor.

Poems Flow with Your Cup of Morning Joe via River Poems from One Columbia and the office of the Poet Laureate

  one columbia coffee

 

Local poets come together to create coffee sleeve poems about the historic flood and rivers of Columbia for national poetry month this April.

 

In conjunction with One Columbia for Arts and History, Ed Madden, the city of Columbia’s poet laureate, has created a project titled River Poems. This project will focus on bringing poetry to the people of Columbia during the entire month of April. Since 1996, April has been national poetry month, and one of the tasks of the poet laureate is to promote the literary arts. “As a project for the poet laureate, last year and this year both, we put poems on the buses. We had already decided the theme this year would be the river, because it is the theme for Indie Grits, but I think the flood added additional urgency to the theme,” says Madden.

 

Along with the bus project, the second project this year was to put the poems on coffee sleeves. “We’ve been trying to think of ways to promote poetry in unexpected places, so coffee sleeves felt like a really obvious place to put poetry,” says Madden. “You can drink your morning cup and read beautiful literature.”

 

Seven local writers came together for this wonderful opportunity to spread literature around the city. The writers include, Jennifer Bartell, Betsy Breen. Jonathan Butler, Bugsy Calhoun, Monifa Lemons Jackson, Len Lawson, Ray McManus, and Madden himself. After sending out a limited call to those artists to create a piece of poetry eight lines or fewer, each poem was then stamped on thousands of coffee sleeves that will be distributed at independent coffee shops around Columbia. Including both Drip locations, and the Wired Goat.

 

“I think the idea of the coffee sleeves is so smart. Columbia has a healthy relationship with the arts, especially the performing arts. But the city gives a lot of love to the fine arts, the design arts, and the literary arts that has thrived here for quite some time.  You’d expect that from a capital city to a certain extent. But what is unique in Columbia is that the art scene is so diverse, and there is a growing respect for that diversity. The literary scene is no exception. There is a little something for everyone here. I hope that resonates,” says Ray McManus, poet and author of the poem Mud.

 

Each of the eight poems centers around the idea of the river that runs through Columbia. This idea ties in with the theme of this year’s Indie Grits Festival, which is Waterlines as well as The Jasper Project’s multi-disciplinary project Marked by the Water, which will commemorate the first anniversary of the floods in October. There are also a few featured poems that represent the voices of people effected by the historic flood which ran through the city last October. Overall, each poems creates a sense of what the rivers mean to each poet, and how in many ways people are still mending together the pieces almost six months later.

 

When writing her poem titled What Stays, Betsy Breen was thinking back to a particular image she recollects from the flood. “I was thinking about the flood in October, and all the debris that washed up during that time. I have a particular image in my mind of a part of Gills Creek that I pass every morning on the way to work. The week after the rain stopped, it was filled with both keepsakes and trash. I was thinking of that when I wrote this poem,” says Breen.

 

It was almost opposite for McManus, who says most of his inspiration almost always comes from books and projects. “I love exploring directions that I didn’t otherwise intend. I’ve always been drawn to rivers; the way they perform; the way they’re always moving. And we depend on them more than we realize, especially in the most basic of functions. We grow from rivers, from the mud of rivers. At some point they become a part of who we are,” says McManus.

 

National poetry month begins on April 1. Columbia is sure to be celebrating all month with something to read as people drink their coffee and travel to work. “We are always looking for more ways to promote the arts, and I believe this year that includes a pretty unique project,” says Madden.

 

Don’t forget to pick up your cup of morning joe this month to feel the inspiration of poetry. Breen reminds us that “National Poetry month is much larger than this poem or project, of course, and I do hope people pay attention to all the different kinds of poetry around them.”

-- Alivia Seely

Where is Your Next Stop? Launching Poets on The Comet This Sunday, November 1!

COMET-620x350

Rosa Rode the Bus Too A revolution began on a city bus. Where is your next stop? - Len Lawson

By: Literary Arts Editor and City Poet Laureate Ed Madden

On Sunday, November 1, One Columbia and The Comet will host the launch of our city’s first major poetry as a public art program—poems on city buses—with a rolling poetry reading on a downtown bus route followed by a celebration and reading at Tapp’s Art Center (1644 Main).

The rolling reading will take place on route 101—so we’re calling it Poetry 101. (Clever, right?) The route, which runs up North Main from the Sumter Street transit station, takes approximately an hour. There will be limited seating, first come, first served. Three sets of poets will read their work for Poetry 101, and thanks to the generosity of One Columbia, all rides on the 101 route will be free all day. For the Poetry 101 rolling reading, meet at the Sumter Street station (1780 Sumter) at 3:30. If you can’t join us on the bus, join us at Tapp’s Art Center for the celebration, with food and drink and readings by more of the poets.

The project is a collaboration One Columbia Arts and History and the Poet Laureate with the Central Midlands Transit Authority. Thanks especially to Lee Snelgrove at One Columbia and Tiffany James at CMTA.

This is my first major project as the city’s poet laureate, and I’m really excited that we have been able to do this. One of my charges as the city laureate is to incorporate the literary arts into the daily life of the city, and to get poetry into public places. The Comet project does that. We have poems on printed CMTA bus schedules (check out some online at: http://catchthecomet.org/routes/), we have poems on the buses themselves, and One Columbia has also published a small book of poems selected for this project—an exciting collection of South Carolina voices, and short poems ranging from the punchy to the political to the poignant. The books will be available at Tapp’s.

Earlier this year, 89 South Carolina writers submitted over 200 poems for Poems on the Comet. Our theme was “The Story of the City,” and poets wrote about favorite places, historical events, daily life in the Midlands, even poems about riding on the bus. We narrowed it down to 51 poems by 45 writers. There are poems by established writers, emerging writers, writers active in the local spoken word and arts communities, musicians, and young writers—seven of them students in Richland and Lexington County middle schools.

At Tapp’s we will also announce the theme for next year’s poetry project.

You can find out more at our Facebook event site: https://www.facebook.com/events/180667522270918/

Learn more about this project and get updates on what I’m doing as laureate at the laureate website: http://www.columbiapoet.org/2015/10/20/cometevent/

Here are a few poems featuring in this year’s project.

Sun

Jennifer Bartell

As a turtle suns on the boulders of the river so my soul stretches forth to face the day.

Downtown Grid

Kathleen Nalley

No matter your starting point, here you’re never lost. Each right turn, each left turn leads you to a familiar place. The city itself a compass, its needle, no matter the direction, always points you home.

Small Winds

Jonathan Butler

All morning the wind has collected the incense of fields, the smell of grass like the sweet breath of the dead, the scent of earth pungent with sorrow and hope, the perfume the rain shakes from its long hair.

The wind has collected these things in fields and forests, cities and towns, to bring them to you this morning, small winds carrying chocolate and smoke blown from the black lake of your cup of coffee.

Who Sees The City?

Drew Meetze (age 14)

Who sees the city best? The tourist, the resident, or the outsider? The tourist sees the bronze stars on the capitol, the cramped racks of key chains and postcards. The resident sees little coffee shops on Main Street and hidden alleyways. The outsider understands that everyone they see has their own lives, first loves, or tragedies.

haiku

K. LaLima

Time flows like water Eyes of Cofitachequi Watch the Congaree

*

Under watchful gaze Five Points remains guarded by That naked cowboy

Milltown Saltbox Bedrooms

David Travis Bland

You can dance in the passenger seat— I'll hold the wheel. Five in the morning traffic Between an emaciated bridge And chicken factory steam Blurring the red neon sky. We're vegetarians in a pork town Dancing in milltown saltbox bedrooms On the banks of a river we all cross.

Cedric Umoja's Millwood Mural Project - by Jessica Blahut

Before ( unfinished mural from years ago) After (Mock up of the finished collaborative piece)

 

For years, an abandoned, unfinished mural has stood near the intersection of Millwood and Gervais, a reminder of the obstacle that urban communities everywhere face. However, a group of three artists in partnership with One Columbia hope to bring the mural and community back to life by refinishing the wall with a mural that will speak to the optimistic future of the community.

 

“I was just driving I saw the wall that needed some finishing,” says local artist Cedric Umoja.  “I just wondered if it was ever going to get done and who started it and that type of thing.”

 

From there Umoja and others at One Columbia gathered information about the existing mural and how to transform the existing wall into something new and fresh for the community.  Umoja contacted fellow artists Brandon Donahue (Nashville, TN) and Karl Zurflüh (Charleston, SC) to collaborate on this project and a shared vision of growth and revitalization was born.

“We came together and said that this was really about the idea of community, but what does that mean?  What does that word mean to you, visually speaking?” said Umoja.

For Umoja, community cannot exist without the promise of the future.  His portion of the mural is a commentary on the necessity of helping the public grow and prosper now to ensure that it can continue. Zurflüh took a different approach, coming from a graphwriting background, he broke up the word “community” into “commune” and “unity” in order to break it down into its purest definition.  Donahue used the imagery of an insect from African folktales, taking the perspective of growth and rebirth.

This mural, which will bridge that gap between high art and street art, has the potential to be a jumping off point for the visual arts community of Columbia; there has been a growing trend in cities around the country of holding “open walls” and inviting street artists to create murals to enhance the existing urban landscape.

“It’s happening everywhere except Columbia, and I think there’s a lot of wall space for it to happen and grow the city in the right way,” says Umoja of Columbia’s potential to follow in the footsteps of other cities.

“I think that it’s going to elevate the quality of life for people that live there, not just the city, but in the community too,” says Umoja “I think that is what we as artist try to do, a lot of us are trying to make people think but we are mostly just trying to enrich people’s lives and educate them from different perspectives.”

Though One Columbia initiative is funding a portion of the project, it does not cover the entire projected cost of the mural.  The artists are also responsible for prepping the wall, supplying their own materials, and other logistical expenses.  In addition to the labor costs of the three muralists, a filmmaker and photographer who will be documenting and archiving the process will also need to be compensated.  Unfortunately, these factors are getting in the way of this project being realized.

Those interested in supporting the Millwood Mural Project can make a contribution at www.gofundme.com/millwoodmural.

 

Q&A with Singer/Songwriter and South Carolina Native Marshall Chapman

DSC7581 One of the advantages of having Lee Smith as our One Book, One Columbia author is she has a lot of cool friends—like South Carolina native Marshall Chapman, one of the state’s most significant musical figures of the last 40 years. Chapman has been a songwriter and performer in Nashville since the 1970s, and her songs have found their way on albums by Jimmy Buffett, Emmylou Harris, and Joe Cocker, among others, and she also has 13 solo albums of her own. Of those, the most recent two, Big Lonesome (2010) and Blaze of Glory (2013), represent some of the finest work of her career. These albums come on the heels of Chapman’s turn to prose—her two critically-acclaimed and award-winning memoirs, Goodbye Little Rock and Roller (2003) and They Came to Nashville (2010), both books which demonstrated a life lived hard and well. In recent years Chapman has also written for such publications as Oxford American, Nashville Arts Magazine, Garden & Gun, and Southern Living.

This is all in addition to her collaboration with Smith, Jill McCorkle, and Matraca Berg, Good Ole Girls, a musical play which has toured throughout the South and had a brief run off-Broadway. Chapman will be performing songs from that play with Smith and McCorkle at 701 Whaley this Thursday, February 26th as part of the closing party for this year’s One Book festivities. Chapman will also be playing a show on Wednesday, May 13th, at Conundrum Music Hall.

Jasper caught up with Chapman recently to chat about her long history in the musical world and late-career renaissance.

Jasper: Blaze of Glory was one of the best-reviewed albums of your career. Do you think you could have imagined 30 or 40 years ago that you would still be making great music?

Marshall Chapman: No, not really. Mainly because I never thought I'd live this long. (laughs)

J: How has the songwriting process changed over the years?

MC: I don't chase it like I used to. These days, I just let the songs come to me.

J: Did you have any specific goals or ideas in mind when you were writing for this record?

MC: Not really. But I knew I was onto something. At first, I thought it was going to be this sexy record. I even had a working title—Sexagenarian. But then it deepened into the whole mortality thing. As soon as I finished "Blaze of Glory," [the song] I knew it would be the title of the album. And also the last song you hear.

J: These songs all feel really fresh, even though it's still very much the sound and style you were working in during the 1970s and 1980s. The straight-up Bo Diddley take on “Love in the Wind” and the soulful rendition of “Nearness of You,” for instance, sound like reinvigorated takes on classic territory.  Why do you think that is?

MC: Oh, I don't know. I was working with producers and co-producers back in the 70s and 80s. I didn't really know that much about making records. I was like Gidget goes to Nashville and gets a Record Deal. But with these last two [Blaze of Glory and Big Lonesome], I was much more focused. Probably because I'm older. It's like ... Last call to get it right! I've been doing this a long time. And it's taken every bit of that time to learn how to trust myself in the studio.

J: You didn’t tour as much behind this record as Big Lonesome, and you’ve become more of a writer, actor, and collaborator (like on Good Ol’ Girls) in recent years. How does that balance work? Has the lack of touring affected your ability to promote your music?

Well, there's a personal reason I didn't tour as much behind this album as with Big Lonesome. Let's just say all the wheels supporting my life came off all at once and leave it at that. As for "lack of touring" affecting my "ability to promote" my music, those two things are pretty much entwined. Nothing gets the word out like a live performance. But it's true. I'm cutting back on live performances.

As for the rest, I've always enjoyed writing prose, so writing the two books felt pretty natural. I've always been interested in the stories behind songs. Especially when the stories are better than the songs!

The idea for Good Ol' Girls was conceived by songwriter Matraca Berg. Matraca called me out of the blue one day, saying she wanted to do a musical with me and Lee Smith. She was a big fan of Lee's writing, but she didn't know her. So I called Lee, since I knew her from when she lived in Nashville in the 1970s. At first Lee didn't seem interested. But then she called me back saying she was in and that she was bringing in Jill McCorkle and a director! [Paul Fergusen, who ended up doing the

adaptation.] The show has toured the South and even had a run off-Broadway. It's playing in a couple of theaters this spring. But this week at 701 Whaley, Lee, Jill and I will be doing our own version of Good Ol' Girls. And probably throw in some new stuff. I never really know what's gonna happen when the three of us get together. But I can assure you this -- something will happen! It's outrageous whenever the three of us get together. Why we haven't been arrested is beyond me.

As for acting, I've done three movies in the past three years—all since turning sixty-two. Maybe the Universe is trying to tell me something.

J: You’ve lived in Nashville for a long time (since you matriculated at Vanderbilt?). What does being from South Carolina mean to you now? What’s it like coming back for tours?

MC: Where you come from ... it stays with you. Especially if you're from South Carolina! Seriously, it's always special coming back to South Carolina to perform. I was in Spartanburg a lot this past fall dealing with the death of my mom. I was driving around there thinking, Hmmmm, maybe I could come back and live here! I even looked at some property off St. John Street.

J: You’ve written two award-winning non-fiction books about your life, Goodbye, Little Rock and Roller and They Came to Nashville. Any plans for a third, either fiction or non-fiction?

MC: Well, I've been writing a monthly column called "Beyond Words" for a Nashville magazine for nearly five years. They told me I could write about anything I wanted, and I imagine I've taken them to task on that. (laughs) Anyway, I'm thinking about putting a collection of those [essays] in a book. As for a novel ... I've had a few stories published, so I've danced around fiction. But the idea of writing an entire novel like Lee and Jill do all the time terrifies me. Which means I'll probably do it one day.

J: The record closes with the title track, which is a kind of uplifting take on mortality, almost like a gospel song. You also recount the most pivotal moment of your life, seeing Elvis as a 7 year-old in the song. Can you tell me a little bit about the idea and inspiration behind that tune?

MC: I wrote the first verse to that song while sitting at my breakfast table. I had a feeling it might be a keeper, so I captured just that little bit on a little recorder. A few weeks later, I returned to it and immediately wrote a second verse. And then a bridge about Jimi Hendrix and Janis Joplin and a few other musical heroes who died young, i.e., in a blaze of glory. But something wasn't right. It felt forced. So I went for a walk, and when I got back, I started from from scratch. I just went back to where it all began—seeing Elvis. As soon as I wrote "that colored balcony came crashing to the floor," I'm thinking, Now what! I mean, you don't want to raise the bar too high. So I got real quiet. And then that last verse about the sun just landed on the page. "Blaze of Glory" wrote itself. All I had to do was get out of the way.

For more information about Marshall Chapman and the latest updates about her various projects, check out tallgirl.com

One Columbia and the City of Columbia Install Second Public Art Sculpture

MOMENTS - by Shaun Dargan Cassidy and Tom Stanley

 
One Columbia for Arts and History and the City of Columbia are proud to announce the installation of a second sculpture resulting from the public art pilot program.
Commissioned with a generous donation from Agapé Senior, the piece entitled “Moments” was created by artists Shaun Dargan Cassidy and Tom Stanley. Both artists are faculty members in the College of Visual and Performing Arts at Winthrop University.
“Agapé Senior is pleased to support the City and One Columbia’s public arts initiative by funding this sculpture.  Our company works to improve the communities in which we serve through local chambers and Rotary clubs, as well as non-profit support, and now with the corporate headquarters on Main Street, this opportunity just seemed like a great fit for us.  Plus, I am a graduate of Winthrop University so having the artists from my alma mater create the piece, this project came full circle for me personally.” says Scott Middleton, Founder and CEO of Agapé Senior.
The stainless steel sculpture is composed of open box structure with an attic above and a tree root system below evoking memory and a collected lifetime of stories. These elements combine into a new sapling that grows up from these symbols of one’s life moments.
Artist Shaun Cassidy explains “’Moments’ was designed to use recognizable imagery to act as triggers to provoke associations with memory, decay, growth, the past and the future. The sculpture is intended to be both contemplative and aspirational and to provide a quiet moment of beautiful visual poetry on Main Street.” Cassidy adds, “We are grateful to One Columbia for the opportunity to create a significant permanent work in such a prestigious location in Columbia.”
“Not only is this a great addition to Main Street, it also serves to demonstrate public art’s power to transform Columbia into a true City of Creativity,” said Columbia Mayor Steve Benjamin. “None of this would be possible without strong public/private partnerships with great businesses like Agape and we’re very excited about what the future holds.”
“It is a privilege to work with businesses like Agapé that have a strong dedication to making Columbia the finest city it can be,” Lee Snelgrove, Executive Director of One Columbia for Arts and History states. “This sculpture in particular reflects the values of our City in how we’re taking unique elements of our past to create new growth. Art is an important part of our identity.”
A public announcement ceremony will be held on Thursday, February 5 at 10am at the sculpture on the 1600 block of Main Street.
The installation of this sculpture would not have been possible without the joint efforts of multiple departments of the City of Columbia, the City Center Partnership, and the Greater Columbia Community Relations Council.
Artists interested in submitting their qualifications for consideration for future projects can find the call for artists on the One Columbia for Arts and History website at onecolumbiasc.com.

BREAKING NEWS -- Ed Madden is Named City of Columbia's First Ever Poet Laureate

Ed Madden - Columbia's Inaugural Poet Laureate

As one of only a few southern cities to create the position, One Columbia for Arts and History and the City of Columbia are proud to announce the selection of poet Dr. Ed Madden as Columbia’s first Poet Laureate. Madden will serve a four-year term that begins January 2015.

Madden is the founding literary arts editor of Jasper Magazine.

Recognized by Mayor Benjamin and the members of City Council in a resolution passed on October 21, 2014, the honorary position of Poet Laureate will “encourage appreciation and create opportunities for dissemination of poetry in Columbia, promote the appreciation and knowledge of poetry among the youth, and act as a spokesperson for the growing number of poets and writers in Columbia.”

“Dr. Madden is not only a world class talent and scholar but also a leader who, through his actions as well as his words, exemplifies the very best of who we are and who we hope to be,” said Columbia Mayor Steve Benjamin. “We’re honored to have him serve as our city’s first Poet Laureate and confident that he will exceed our highest expectations.”

"Ed has led poetry summer camps for a number of year and has some good ideas of how to involve kids and families into the activities he'll conduct as poet laureate,” states Councilman Moe Baddourah, the chair of City Council’s Arts and Historic Preservation Committee. "I believe he's the right person to take on this job."

Dr. Ed Madden, Associate Professor of English and the Director of Women’s and Gender Studies Program at the University of South Carolina, holds a PhD in Literature from the University of Texas at Austin. Originally from Newport, Arkansas, he has lived in Columbia since 1994. He has published three books of poetry and is currently working on a fourth entitled Ark, to be published in 2016. He is the recipient of the inaugural Carrie McCray Nickens Fellowship in poetry from the SC Academy of Authors as well as a fellowship for prose writing from the SC Arts Commission.

His first scheduled readings as City Poet Laureate will be part of the State of the City Address on January 20, 2015 as well as for the commemoration events for the 150th anniversary of the burning of Columbia on February 17, 2015.

“I am excited to have been chosen for this position, and really honored to be the first poet selected,” said Madden.  “Columbia is a city so rich in writers, I’m also very humbled.” He is looking forward to using this position to promote poetry and the literary arts in the area.  “I want to be a champion for poetry, language, and the arts, and I want to use poetry to document the life and culture of the city.”

Dr. Madden is excited about the possibilities of community work and hopes to work with local schools, libraries, and writing groups. He particularly hopes to develop forums for youth and student voices, and he’s planning a project on walls and windows that would highlight the work of community writers in public spaces.

One Columbia will provide financial support for the Poet Laureate to conduct activities that support the organization’s mission to promote and strengthen the arts in Columbia.

“It’s a privilege to be able work with Ed,” Lee Snelgrove, Executive Director of One Columbia for Arts and History states. “He has the skills and ambition to craft the position of poet laureate into something very special that will bring even more recognition to the City for it’s deep pool of artistic talent and strong support for the arts.”

Dr. Madden was selected to serve in this role by a selection committee representing the literary community, city government and academia. The members of this committee were: Nikky Finney, winner of the 2011 National Book Award for poetry; Tony Tallent, Director of Literacy and Learning at the Richland Library and Board Chair of One Columbia; Councilman Moe Baddourah; Michael Wukela representing the office of Mayor Benjamin; Jonathan Haupt, Director of the University of South Carolina Press and One Columbia board member; Sara June Goldstein, Senior Coordinator for Statewide Partnerships with the SC Arts Commission; Cynthia Boiter, co-founder of Muddy Ford Press and editor of Jasper Magazine; and Alejandro García-Lemos, a Columbia artist and founder of Palmetto Luna.

"The choice of Ed Madden, as Columbia's first poet laureate, is a lovely luminous moment for our city and state,” says Nikky Finney. “Poetry has the grace and power to both inspire and guide. The city of Columbia and the state of South Carolina need more poetry in its heart and soul. Ed is absolutely the one to help direct it there and there.”

An official presentation will take place on January 15, 2015 between 6-8pm at the Seibels House (1601 Richland Street). The event will also feature the official launch of Columbia’s One Book, One Community 2015 selection of On Agate Hill by Lee Smith and will be hosted by Jasper Magazine, who will be celebrating the release of their January issue and Historic Columbia who will feature the series of events commemorating the 150th anniversary of the burning of Columbia. The event is open to the public.

DEADLINE = MARCH 1

Fall Lines

2015

 

Fall Lines – a literary convergence is a literary journal based in Columbia, SC and presented by Jasper Magazine in partnership with the University of South Carolina Press, Muddy Ford Press, Richland Library and One Columbia.

With a single, annual publication, Fall Lines is distributed in lieu of Jasper Magazine’s regularly scheduled summer issue. Fall Lines will accept submissions of previously unpublished poetry, essays, short fiction, and flash fiction from December 1, 2014 through March 1, 2015. While the editors of Fall Lines hope to attract the work of writers and poets from the Carolinas and the Southeastern US, acceptance of work is not dependent upon residence.

Please limit short fiction to 2000 words or less; flash fiction to 350 – 500 words per submission; essays to 1200 words; and poetry to three pages (Times New Roman 12 pt.)

Submit your work to Jasper Magazine’s Fall Lines – a literary convergence at  https://jaspermagazine.submittable.com/submit.

While you are invited to enter up to five items, each item should be sent individually as a single submission. Please include with each submission a cover sheet stating your name, email address, and USPO address.

There is a five dollar reading fee for each short story; for up to three poems; for up to three flash fiction submissions; or for each essay.

Publication in Fall Lines will be determined by a panel of judges and accepted authors will be notified in May 2015, with a publication date in June 2015. Accepted authors will receive two copies of the journal.

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The Columbia Fall Line is a natural junction, along which the Congaree River falls and rapids form, running parallel to the east coast of the country between the resilient rocks of the Appalachians and the softer, more gentle coastal plain.