Tag: church

LIGHTEN UP

LIGHTEN UP is a new, evening length multimedia song cycle created by New York composer Eve Beglarian and Louisiana video artist Matthew Petty. This 80 minute concert combines live music and video projections with lighting and set elements that invoke the force and imagery of the visual artists it honors.

Initially inspired by the life and work of Houston’s Flower Man, LIGHTEN UP explores the visions of visual artists whose life and work re-shape the American Dream in imaginative, powerful, and healing ways. While sometimes called “outsider artists,” these artists’ work springs from sources deep in the ground of the places they live, and inside their deepest selves.

LIGHTEN UP is more a fantasia on the work of these visionary artists than a conventional documentary. Matt Petty’s videos include footage of the work of Cleveland Turner, aka the Flower Man, Pastor Juanita Leonard, Prophet Isaiah Robertson, Jeff McKissack (the Orange Show), Kenny Hill (Chauvin), Dr. Charles Smith, and others. Eve Beglarian’s music sets texts by Louise Glück, Ezekiel, and Reverend Milton Brunson as well as the artists themselves. The piece also explores the way Eve’s and Matt’s lives have been transformed by their relationships with these artists and their work.

The music is performed live by the LIGHTEN UP quartet comprised of James Allen (keys and vocals), David Steele (clarinets and other reeds), Matt (trombone and vocals), and Eve (vocals and electronics).

Eve and Matt began working on LIGHTEN UP in the spring of 2015, under the auspices of the Marion International Fellowship for the Visual and Performing Arts. This year-long development and travel grant culminated in a workshop showing of a first version of LIGHTEN UP performed by the quartet of Eve, James, David, and Matt at the Alley Theatre in Houston, TX in June 2016.

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Please click on the titles below to experience three of the existing pieces in LIGHTEN UP.

Dust

footage: Prophet Isaiah Robertson’s home and church, Niagara Falls, NY | Aug 2015 text: Ezekiel • music & vocals: Eve Beglarian • video: Matt Petty

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All U Got 2 Do

footage: parishioners at Juanita Leonard’s Church, Montgomery, LA & St. Matthew’s MB Church, Houston | Oct & Dec 2015 & May 2016 • text: Reverend Milton Brunson • music: Eve Beglarian (and Beethoven’s Missa Solemnis) • clarinet: David Steele • video: Matt Petty

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Enter In To My Heart

footage: Kenny Hill’s Chauvin Sculpture Garden, Chauvin, LA | Dec 2015 & Mar 2016 • music: anonymous harmonica player in New Orleans | Dec 2015 processed and mixed by Eve Beglarian and Matt Petty • video: Matt Petty

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LIGHTEN UP: Artist Biographies


According to the Los Angeles Times, composer and performer Eve Beglarian is an idealistic rebel and a musical sensualist. She was awarded the 2015 Robert Rauschenberg Prize from the Foundation for Contemporary Arts for her  “innovation, risk-taking, and experimentation.”

Beglarian’s current projects include LIGHTEN UP, a multimedia music-theater piece about visionary visual artists in America;  a new collaboration with writer/actor Karen Kandel about women in Vicksburg; the long-term undertaking A Book of Days, text/music/visuals, one for each day of the year; and BRIM, the ensemble she has created to perform the repertoire she has created in response to her 2009 journey down the Mississippi River by kayak and bicycle.

Recordings of Eve’s music are available on ECM, Koch, New World, Canteloupe, Innova, Naxos, Kill Rock Stars, CDBaby, and Bandcamp.

New York Times profile

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Sister Juanita Leonard was born at the Huey P. Long Charity Hospital in Alexandria, Louisiana and has been a Louisiana resident all her life. She currently resides in Montgomery, Louisiana (population 795) where she owns and operates Closer to Christ Ministries, a roadside church located off of Highway 71, that she built herself from salvaged materials. Sister Juanita focuses on serving the homeless, sick, and poverty- stricken members of the community, as well as released prisoners, and at-risk children. She provides daily free meals from her home and healing services for those in need, and has done so since 2001.

As an artist, Sister Juanita has been painting since she was 17 years old. Her artwork has expanded into other forms including sculptures, architecture, quilting, hat-making, and basket weaving. Her work has been featured in numerous shows and museums across the state of Louisiana, as well as the The Pennsylvania Museum of Art, in Erie, PA; The Morris Museum of Art in Augusta, GA; and Roff Graves’ Gallery in Lodi, CA. She has been awarded the title of Recognized Tradition Bearer by the State of Louisiana in 2016, and has also appeared in two books including Juanita Leonard’s Hard Times Bus by Jason Neville, and When the Spirit Speaks: Self-Taught Art of the South by Margaret Day. Additionally, Sister Juanita has appeared in publications by Louisiana Public Broadcasting, CBS, Raw Vision Magazine, The Folk Art Messenger, SPACES Archives, and The American Folk Art Museum.

Raw Vision profile   |  Folk Art Society of America profile

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Matt Petty is a multi-instrumentalist, composer, and video artist based in Natchitoches, Louisiana. He is a graduate of Northwestern State University, where he received degrees in Music Education and Trombone Performance. Matt Petty uses low-fi gear to create music-based multimedia productions involving sound, video and live performance. Matt is an alumnus of New York’s Watermill Center, where he worked as a performing artist, collaborator, and technical assistant; and was influenced by artists such as theater director Robert Wilson, filmmaker Jim Jarmusch, and the American freak-folk band CocoRosie. He is also a founding member of the experimental-Americana ensemble Kisatchie Sound, with clarinetist and co-founder, David Steele; a group that creates music with a sense of place.

As a collaborative artist, Matt has worked with numerous visual artists and musicians across the U.S. performing concerts and making video pieces. He has screened experimental video in Louisiana, Texas, Arkansas, California, New York, and Vermont. Additionally, Matt is the creator of the feature documentary, Sacred as Folk, about the life of Louisiana artist, Brother Michael David Elvestrom. Most recently, Matt is traveling across the country working with and documenting visionary artists for a grassroots multimedia collaboration with composer Eve Beglarian titled LIGHTEN UP, a project that promotes diversity and healing through art as a social practice. Additionally, Matt was one of 25 international artists selected as Lucas Artist Fellows in Music at Montalvo Arts Center, in Saratoga, CA. Matt currently serves as Adjunct Professor of Music and Fine Arts at Northwestern State University in Natchitoches, Louisiana. For more information, visit Matt’s Vimeo page.

ADDITIONAL COLLABORATORS

James Allen is the music director and organist at First St. Matthew’s Missionary Baptist Church in the Third Ward of Houston, Texas. A singer since the age of three, he graduated from Madison High School of Houston in 2003, and from Alcorn State University in Mississippi in 2008 with a Bachelor of Science in Music Performance. His home church is Jerusalem Missionary Baptist Church. James has performed as a musician and collaborator with Eve Beglarian and Kisatchie Sound as part of LIGHTEN UP‘s workshop performance at The Alley Theater in Houston, Texas, in the Summer of 2016. Additionally, James works as a lifeguard and swim coach at the YMCA of Houston.

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David Steele, a native of Houston, Texas, has been part of the music faculty at Northwestern State University since August 2012 where he teaches clarinet, woodwind methods, and fine arts. He is also a founding member of the chamber ensemble, Kisatchie Sound. While clarinet is his primary instrument, David plays the chalumeau, various woodwind instruments and several folk instruments. He plays an active role as a director, instructor, choreographer, and visual technician throughout the Louisiana/Mississippi Color Guard and Percussion Circuit for area marching bands and color guards. David studied at Northwestern State University, the University of New Mexico, and the University of North Texas. He has worked for Popejoy Hall, New Mexico’s premiere performing arts venue, in the Education and Outreach Department. His teachers include Dr. Malena McLaren, Mr. Keith Lemmons, and Dr. Kimberly Cole Luevano.

While at Northwestern State University, David performed with the university’s Wind Symphony, Symphony Orchestra, and Jazz Orchestra. He has played principal clarinet with the University of New Mexico’s Wind Symphony and Symphony Orchestra. While attending the University of North Texas, David performed and recorded with the U.N.T. Wind Symphony as principal clarinet under the direction of Dr. Eugene Corporon. Additionally, David has performed with several professional groups such as the New Mexico Symphony Orchestra, Roswell Symphony Orchestra, Shreveport Symphony Orchestra, Texarkana Symphony Orchestra, South Arkansas Symphony Orchestra, the Many Chamber Orchestra, and the Northwestern Faculty Quintet. He has also performed as a musician, color guard performer, and visual artist at the Alley Theater in Houston, and as a woodwind specialist and technician in the pit-orchestras at Long Lake Camp of the Arts in New York. He is a recipient of the McCutchens Award for Musical Excellence, the Magale Award for Musical Excellence, the Bess McNeely Award for Outstanding Musical Performance, and the Albuquerque Community Education and Outreach Award.

As a recording artist, David has recorded with renowned brass players Joe Alessi, Sam Pilafian, Marshall Gilkes, and J.D. Shaw. He has recorded with composer, Eve Beglarian, and the chamber ensemble, Kisatchie Sound. David’s playing is featured in the sound track of the documentary film, Sacred as Folk. His playing and color guard choreography is featured in the multimedia production of LIGHTEN UP. 

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Christina Giannelli is a Houston-based lighting designer. Her work in Opera and Ballet lighting design has taken her around the world and gained her national recognition.  She has been the Resident Lighting Designer for Houston Grand Opera, Cleveland-San Jose Ballet, Texas Ballet Theater, Houston Ballet and most recently for the Metropolitan Opera. Firmly committed to furthering the growth and development of the Arts in Houston, Ms. Giannelli has served on the Boards of Zocalo Artists Yard, Infernal Bridegroom Productions, the DiverseWorks Artists Board and is the founder and president of Dance Source Houston, a service organization that supports and promotes Contemporary Dance.  She is also the co-proprietor of a guest house for visiting artists and innovators located in EaDo.

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first portrait

I’m going through stuff here in Spencer’s house in LA.

physically, I mean — but of course in every way.

there are thousands of books, not really exaggerating — only half the books from our parents’ house, but still, way too many books. I’m not capable of just dealing with them wholesale: I go through each one, deciding which to keep, which to sell on Amazon, which to donate. I enjoy the process, really: finding Joyce’s annotations in Virginia Woolf, a copy of an obscure anarchist novel next to pretentious right-wing Russell Kirk (my parents’ politics are inscrutable), it’s all cool.

so here’s what I came upon in a copy of Jim (not yet James) Beard’s Casserole Cookbook of 1955:

Here’s what I can tell you about this piece of paper. The writing is my father’s, from the summer of 1958, and it’s a slightly mysterious set of accounts of income he expects for August of 1958. I can figure out Interlochen (where he taught that summer), and various music publishers: Holt, E B [Marks], Peters, for whom he did music copying work. Here’s a close up view of the accounts:

The reverse side is a blank form (mimeographed I think), for the service music choices at the First Methodist Church in Plymouth, MI, where my mother was the organist. (I was baptized there in October of 1958.)

So of course, the line drawing below can be none other than a pre-natal portrait of me by my father. I was born 22 July 1958, and my guess is that he was working out the numbers to be sure he could pay the hospital bill for my birth.

I love this portrait of a fetus reading. love it completely. and it makes me patient with this whole process of sorting through books. but I guess I was set up to be bookish from the start, no?!

first portrait

I’m going through stuff here in Spencer’s house in LA.

physically, I mean – but of course in every way.

there are thousands of books, not really exaggerating – only half the books from our parents’ house, but still, way too many books. I’m not capable of just dealing with them wholesale: I go through each one, deciding which to keep, which to sell on Amazon, which to donate. I enjoy the process, really: finding Joyce’s annotations in Virginia Woolf, a copy of an obscure anarchist novel next to pretentious right-wing Russell Kirk (my parents’ politics are inscrutable), it’s all cool.

so here’s what I came upon in a copy of Jim (not yet James) Beard’s Casserole Cookbook of 1955:

Here’s what I can tell you about this piece of paper. The writing is my father’s, from the summer of 1958, and it’s a slightly mysterious set of accounts of income he expects for August of 1958. I can figure out Interlochen (where he taught that summer), and various music publishers: Holt, E B [Marks], Peters, for whom he did music copying work. Here’s a close up view of the accounts:

The reverse side is a blank form (mimeographed I think), for the service music choices at the First Methodist Church in Plymouth, MI, where my mother was the organist. (I was baptized there in October of 1958.)

So of course, the line drawing below can be none other than a pre-natal portrait of me by my father. I was born 22 July 1958, and my guess is that he was working out the numbers to be sure he could pay the hospital bill for my birth.

I love this portrait of a fetus reading. love it completely. and it makes me patient with this whole process of sorting through books. but I guess I was set up to be bookish from the start, no?!

first portrait

I’m going through stuff here in Spencer’s house in LA.

physically, I mean – but of course in every way.

there are thousands of books, not really exaggerating – only half the books from our parents’ house, but still, way too many books. I’m not capable of just dealing with them wholesale: I go through each one, deciding which to keep, which to sell on Amazon, which to donate. I enjoy the process, really: finding Joyce’s annotations in Virginia Woolf, a copy of an obscure anarchist novel next to pretentious right-wing Russell Kirk (my parents’ politics are inscrutable), it’s all cool.

so here’s what I came upon in a copy of Jim (not yet James) Beard’s Casserole Cookbook of 1955:

Here’s what I can tell you about this piece of paper. The writing is my father’s, from the summer of 1958, and it’s a slightly mysterious set of accounts of income he expects for August of 1958. I can figure out Interlochen (where he taught that summer), and various music publishers: Holt, E B [Marks], Peters, for whom he did music copying work. Here’s a close up view of the accounts:

The reverse side is a blank form (mimeographed I think), for the service music choices at the First Methodist Church in Plymouth, MI, where my mother was the organist. (I was baptized there in October of 1958.)

So of course, the line drawing below can be none other than a pre-natal portrait of me by my father. I was born 22 July 1958, and my guess is that he was working out the numbers to be sure he could pay the hospital bill for my birth.

I love this portrait of a fetus reading. love it completely. and it makes me patient with this whole process of sorting through books. but I guess I was set up to be bookish from the start, no?!

where the two roads meet

(my notes on Where The Two Roads Meet, by Christopher Vecsey)

The demise of Indians as obstacles to American expansion made them objects of commiseration to romantics and other sympathizers. (p. 96)

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[The current term for the Catholic Church's attempts to missionize is inculturation, the idea being inculturation good, syncretism bad...]
“If inculturation is the evangelists’ systematic and conscientious effort to translate the universal message of the gospel into the religious categories of the target society, then syncretism is the inverse process by which those who have been evangelised try to retain vestiges of their own religion, not so much in opposition to the Christians as in reclothing the accepted tokens of Christianity in the appropriate aboriginal religious forms.”  Manuel M. Marzal The Indian Face of God in Latin America, quoted in Vecsey, Two Roads (p. 143)

I am MUCH more interested in syncretism than inculturation. it seems to me that inculturation is simply the next step in colonialism: deciding for the other what of their own traditions can be worked into the replacement religion. The syncretism of AfricanAmerican, Haitian, Cuban Christianity is its power and richness, and that power teaches me and deepens my faith, not as a member of any of those cultures, but as a way of opening up the multiple mysteries of the Gospel.

An anthopologist uses the phrase “imperialist nostalgia” to describe the new evangelism of the contemporary Church. [Kozak, David. "Ecumenical Indianism: Kateri and the Invented Tradition"] Anthropologist Michael Angrosino says “there is an underlying assumption that inculturation is something that the Vatican, out of a sense of noblesse oblige, is in a position to grant; it is calling people to the truth and only uses cultural forms to induce people to heed that calling.”

native and christian

(my notes on Native and Christian: Indigenous Voices on Religious Identity in the United States and Canada, a collection of essays edited by James Treat)

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The Christian church is made up of creatures on a planet that revolves around a small sun, in a small galaxy that is only a small part of the cosmos. As our knowledge of our creation grows and as our search for meaning expands, can we really continue to believe that the truth that forms the basis for our faith is exclusive or that God has chosen to reveal truth only to Christians? At the same time, does the realization of other truths have to mean that the rich history, tradition, and faith in the truth of Jesus Christ is any less vital? I do not think so.

[...]

We must begin to discover the vast, mutual ethical basis of religious experience and begin carving out theology with peoples of different faiths. We must begin to share our faith, not as a tool of conversion, but as a means of mutual spiritual growth in which learning becomes as important as teaching. We must begin to share in spiritual understandings, spiritual expressions, and even spiritual beliefs, not to convert, but to grow in understanding. We are compelled to do this not only out of self-interest (to strengthen our faith) but that in this sharing, we along with others may grow in our understanding of God’s purpose for creation.

from Indian Spirituality, Another Vision, by James L. West (Baptist Cheyenne)
in Treat, Native and Christian (p. 36)

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the idea of three Testaments: the Hebrew Scriptures, Native American Tradition, and the New Testament, that there are perhaps multiple “Old Testaments” that can assume a similar role for Christianity as the Hebrew Scriptures… articulated by Steve Charleston (Episcopal Choctaw) in “The Old Testament of Native America”

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the idea that the Native Americans are the Canaanites to the Israelite/Europeans, the indigenous people who must convert or be destroyed, who are the original inhabitants of the promised land, proposed by Robert Allen Warrior (Osage, Methodist) Response from William Baldridge (Cherokee, Baptist) tells the story of the Canaanite women who comes to Jesus to beg for healing for her child, who dares to say “Yet even the dogs eat the crumbs that fall from their master’s table.” Baldridge says: “What happens next is a miracle: The Son of Yahweh is set free. The son of the god of Canaanite oppression repents. Jesus not only changes his mind, he changes his heart. He sees her as a human being and answers her as such. “O woman, great is your faith! Be it done for you as you desire.” And her daughter was healed instantly… and so, I believe, were the wounds of bitterness in the Canaanite woman.”

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There is real concern among the reservation traditions of the impact and meaning of spreading the tribal teaching to anyone who has a spiritual or emotional need. The belief has always been that the Great Spirit and/or the high spirits are also watching others and they will provide the proper religious insights and knowledge to others. Therefore it behooves Indians to obey the teachings of their own traditions and hold them close. If they were meant for other people, the other people would have them. Such thinking has prevented most tribes from engaging in religious imperialism, and the humility underlying this attitude is admirable.  (Vine Deloria, Jr. Yankton Sioux historian)