April 2016
Acadiana’s Publication for the Arts
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Overture Magazine
Acadiana’s Publication for the Arts
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April 2016
features
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A TOAST TO OUR MOTHERS
A champagne toast, a guest performance by Gleb Ivanov and beautiful chamber music pay homage to mothers at the ASO’s “To Mothers with Love” concert.
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MARTIN ACCORDIONS: A FAMILY AFFAIR
Pennye Huval and the rest of the team at this full-service shop create beautiful accordions with the help of exotic woods, artistic inlays, vibrant colors and more custom-made features.
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A-WA: YEMENITE FOLK SINGERS FROM ISRAEL
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LO’JO FROM FRANCE
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Rising from an area of France proud of its French dialect, this group goes in a different direction and blends together a myriad of cultural influences, languages, musical styles and instruments.
WILD BULL: CIMARRÓN FROM COLOMBIA
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This Colombian group performs the fast-paced rhythms of the traditional music and dance from the Orinoco River Plains, styles that are deeply rooted in their heritage.
LIVING THE GOOD LIFE
Embody Zest, Alyce Morgan’s exercise studio, offers a range of programs designed to achieve a sound mind in a healthy body.
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Photo by Alyce Ray
Three sisters from Israel and a member of the Balkan Beat Box bring their own interpretations – as well as reggae, hip-hop and soul influences – to traditional Yemenite folk songs.
Encore worthy Create an appearance worthy of an encore with a pair of our diamond solitaire earrings.
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contents
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8 OPENING NOTES Jenny Krueger, Executive Director 10 FANFARE Mariusz Smolij, Music Director & Conductor 16 GUEST COLUMN Garth Alper, School of Music & Performing Arts, University of Louisiana at Lafayette 24 LOUISIANA CRAFTS GUILD Avenue of Arts at Festival International de Louisiane
Photo by Joni Noble Photography
26 FINE TIME FOR A FINE ARTS FESTIVAL The Big Easel Art Show 28 HAPPY NOTES Debussy, Ravel and Dvořák 42 SYMPHONY SEAUXCIAL HIGHLIGHTS Mad Hatter’s Luncheon & Style Show
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44 STANDING OVATION Mad Hatter’s Luncheon & Style Show Contributors 46 COMMUNITY SEAUXCIAL HIGHLIGHTS Moonlight & Music: A Time for Love
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6 April 2016
Overture Magazine
VISIT OUR SECOND LOCATION April 2016 Vol. 3, No. 7
PUBLISHED BY
EDITOR Jenny Krueger jenny@acadianasymphony.org
PROJECT MANAGER Rebecca Doucet rebecca@acadianasymphony.org
ASSISTANT EDITOR Danielle Ducrest overture@acadianasymphony.org
ARTISTIC COORDINATOR Alyce Ray alyce.ray@acadianasymphony.org
WRITERS Emily Brupbacher, Johanna B. Divine Ann B. Dobie, Danielle Ducrest ACCOUNT EXECUTIVE Carolyn Brupbacher carolyncb@me.com • 337.277.2823
CONTRIBUTING WRITERS Garth Alper, April Courville Jenny Krueger, Mariusz Smolij Jennifer Tassin, Dr. May Waggoner
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Overture Magazine is published nine times a year and distributed free of charge by Acadiana Symphony Orchestra & Conservatory of Music. No parts of this periodical may be reproduced in any form without the prior written consent of Overture Magazine. The owners, publishers, and editors shall not be responsible for loss or injury of any submitted manuscripts, promotional material and/or art. Unsolicited material may not be returned. Advertising in Overture Magazine does not imply endorsement by Overture Magazine or Acadiana Symphony Orchestra & Conservatory of Music. Overture Magazine reserves the right, without giving specific reason, to refuse advertising if copy does not conform with the editorial policies. Overture Magazine does not necessarily agree with nor condone the opinions, beliefs or expressions of our writers and advertisers. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers.
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Opening Notes
Happy Festival!
Jenny Krueger, Executive Director
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Turn up the volume, close your eyes and let the music take over your soul!
April in Acadiana is the month of Festival International. The bright colors fly, the buzz is in the air and the entire community is planning their month around the event of the year! It is so much fun to feel the excitement this community has about our local music, world music, and the musicians and cultures they bring with them from all over the world!
April in Acadiana provides ample opportunities to let the music take over our souls! We are so lucky to live in a place that offers so many culturally rich opportunities for us to experience so close to home. There is real happiness and comradery that happens when we can share these types of artistic experiences with friends and the people we love. The April issue of Overture focuses on the artists in folk art and fine art that make the music and art happen.
Let’s travel to faraway places and visit with Festival International artists like A-WA, the Israeli, female musicians whose colorful and energetic music of love and protest will have you moving and grooving. Learn more about the fast-paced rhythms and intense stage presence of the Colombian musicians of Cimarrón. The Festival International lineup is just as amazing as ever!
A little closer to home, we meet Pennye Huval of Martin Accordions, who has spent her whole life immersed in Cajun music. Take a peek into Huval’s world and see how her work is helping to keep our unique, Acadian culture alive. The Big Easel is back again for its 11th year and provides a wonderful artistic experience that is an artistic contrast to Festival International.
Your own Acadiana Symphony will celebrate moms with their special selection of intimate chamber music that honors the unconditional love of mothers everywhere.
So this month, grab your issue of Overture and enjoy all of the worldly places that we get to visit in the comfort of Acadiana. Happy Festival month! 8 April 2016
Overture Magazine
Acadiana’s Publication for the Arts
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Fanfare
Folk, pop, country and traditional music — the SYMPHONIC way!
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Mariusz Smolij, Music Director and Conductor
This month, the attention of our community gravitates towards the 30th annual Festival International, where folk, pop, country and more music genres from the Francophone world are celebrated. Throughout the centuries, many composers of symphonic music also showed a great interest and admiration towards similar musical traditions. The most famous masters of orchestral music were often inspired by folk traditions of many regions of the world.
In order to enrich your musical experience this month and to provide you with another dimension to the concept of popular music, I have prepared a list of folk-inspired compositions that are a major part of the repertoire of symphony orchestras around the world. I hope you find them enjoyable. Johannes Brahms, “Hungarian Dances” The Romantic, German composer was a great admirer of Hungarian musical traditions. In addition to featuring Hungarian-inspired themes in his famous violin concerto, he composed 21 “Hungarian Dances” for piano. The orchestral versions of these dances have gained the greatest popularity. I especially recommend No. 5 and No. 7. Recommended recording: Budapest Symphony Orchestra; I. Bogár, conductor. Antonin Dvořák, “Slavonic Dances, op. 46” This piece is a colorful collection of orchestral elaborations of popular dances from Moravia and Bohemia, presently the Czech Republic. Recommended recording: Czech Philharmonic; V. Talich, conductor. Mikhail Glinka, “Kamarinskaya: Fantasy on Two Russian Folk Songs” The Romantic, Russian composer was a master of adopting folk music for symphonic purposes. He wrote compositions inspired by musical traditions of Russia as well as Spain. Recommended recording: Moscow Radio Symphony Orchestra; B. Demchenko, conductor. Edvard Grieg, “Norwegian Dances, op. 35” Originally composed for piano four-hands, this charming collection of “Norwegian Dances” was adopted for orchestra by Hans Sitt. You can travel to Scandinavia without leaving your living room while listening to this little masterpiece. Recommended recording: Gothenburg Symphony Orchestra; N. Järvi, conductor. Aaron Copland, “Hoe-Down” from “Rodeo” Copland composed several ballets where the musical canvas was full of American-inspired folk traditions. The popular dance originally from Appalachia, which became much loved in Texas, receives a superb orchestration by Copland. Recommended recording: New York Philharmonic; L. Bernstein, conductor.
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Acadiana’s Publication for the Arts
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A Toast to Our Mothers Emily Brupbacher
12 April 2016
Overture Magazine
The season of spring, with its colorful blooms and celebrations of warmer weather and new life, has always been a perfect time to celebrate our mothers — the women who nurture and love us like no one else can. For fans of the symphony, the ASO’s May concert, “To Mothers With Love,” is just another way to celebrate our mothers’ love. “I believe it is important to have music as part of our celebrations, particularly live music,” says ASO’s Maestro, Mariusz Smolij. “Intimate chamber music is, I feel, quite appropriate to celebrate our mothers and their unconditional love. I hope that our musical invitation will provide a special ‘gift option’ for all of us who would like to do something very special with our mothers that special day.” Even the music selection for this event — which includes Debussy’s “The Girl with the Flaxen Hair” and “L’isle Joyeuse,” Dvořák’s Piano Quintet in A-Major, Op. 81, and movements from Ravel’s suite, “Mirrors” — is a beautiful reflection of the show’s theme. “There are some works that have thematic relations with mothers, women, love, warmth or pleasant memories,” Smolij says. “The first half of the concert will feature the piano soloist in French-impressionistic repertoire. The thematic connection of the first Debussy piece (“The Girl with the Flaxen Hair”) is obvious. The entire part of this concert has the delicacy, vibrancy and warmth that I find particularly appropriate for the occasion. Also, each of those piano selections seems to be painting an image or brief musical story. Don’t we all remember the stories that our mother read to us?” Gleb Ivanov, a renowned concert pianist, will join the ASO as a guest artist for this performance. Ivanov grew up in a family of musicians and studied at the Moscow Conservatory and the Manhattan School of Music. To prepare for this particular performance, he took a look at the various pieces of music and considered what he can bring to each selection. “I came from the family of six,” Ivanov says. “Everyone in my family is a professional musician — my brother is a cellist, my younger sister is a harpist, my older sister a pianist and my mother is also a harpist. Preparing for this amount of impressionistic music will make my life very interesting and unusual.
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BAROQUE LANDSCAPES ARTISTS: ASO Chamber Orchestra with Peter Sykes, Harpsichord and Winners of ASO Young Artist Competition
PROGRAM: Antonio Vivaldi – Concerto for 2 Violins in A-minor Edvard Grieg – Suite from the Holberg’s Times, Op. 40 J.S. Bach – Brandenburg Concerto No. 5
TICKETS:
www.acadianasymphony.org
Sunday, May 29, 2016 /// 3:00 pm Acadiana Center for the Arts
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It’s always very demanding. This kind of music is almost never about phrasing; it’s about the variety of colors pianist can provide. Playing Ravel and Debussy will always make a performer use their ears much more than playing Romantic repertoire. Impressionistic music demands a lot of time to find proper sound and color for each note.”
Photo by Christian Steiner
PHOTO CREDIT: CHRISTOPHER POWELL
In addition to the beautiful music, ASO is offering a champagne toast and chocolate-covered strawberries to everyone before the concert. “We want to honor all mothers, grandmothers, godmothers and those men and women who fill the roles of mothers with something extra special!” explains ASO Deputy Director Rebecca Doucet. For Pallavi Simon, owner of Edible Arrangements, providing delectable treats for ASO concerts and related events is just one way of helping to support our symphony. “As a mother, I see the importance of the symphony and the wonderful services it provides,” says Simon, who also serves as the recording secretary for the Acadiana Symphony Women’s League. “My daughter takes voice lessons and my son takes piano lessons at the Conservatory, so I really value the whole program from Overture Magazine
the symphony concerts to programs like Link Up and Do-Re-ME! It’s so important to support the ASO in any way I can.” It seems symphony supporters and mothers alike will find something to enjoy at this concert. “The audience will enjoy listening to one of the most beautiful programs,” Ivanov says. “Images of Nature in the Debussy and Ravel pieces and the melodic beauty of Dvořák Quintet will make that evening a very special one.”
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A special addition to the evening will be an exhibit of artwork created by the winners of Overture’s Art Contest. The grand-prize winning artwork, which will be reproduced on the cover of the May issue of Overture, will be on display alongside the other winning pieces created by youth in the Acadiana area. The Acadiana Symphony Orchestra will present “To Mothers with Love” on Sunday, May 8, at 3:00 p.m. at the Acadiana Center for the Arts. For more information or to purchase tickets, please visit acadianasymphony. org/events. Acadiana’s Publication for the Arts
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April 2016 15
Guest Appearance
Hear Live Jazz Here
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I’ve been teaching jazz for a pretty long time. Yet, one of the most difficult questions to answer is, “What is jazz?” You’d think I’d know the answer by now. I know what jazz sounds like. I know what jazz feels like, and I can play it. But the more I listen to and learn about this music that changed our country, the more trouble I have trying to define it using the spoken or written word.
This isn’t a new problem for musicians. Laurie Anderson is credited with coining the expression, “Talking about music is like dancing about architecture.” But even though it’s difficult to define jazz using words, we all have wonderful So come see a UL Lafayette jazz combo or jazz opportunities to better understand it and listen to it in ensemble in concert or one of the great guest artists person and through recordings. sponsored by our concert committee. The ASO The best way to gain an appreciation of this brings in outstanding jazz guest artists to perform great, American art form is to see and listen to it with the orchestra. UpStage and the Acadiana Center performed live. And there are other very important for the Arts bring in top-notch artists to Lafayette. reasons you should consider getting out and seeing You can see fine, local jazz musicians at the Saint jazz performed in our area. Jazz has the power to Street Inn, Bisbano’s Pizza, Artmosphere and entertain us, to make us feel things no other art form Charley G’s. Festival International normally presents can, to spur on our intellects, to amaze us and to a few excellent jazz artists each year. If you’re prod the imagination. Not only is it great music, but headed to New Orleans, there’s Snug Harbor Jazz much of what you hear in jazz is created on the spot. Bistro, Maple Leaf Bar and numerous other clubs. In a live performance, you might catch the visual The jazz tent at the New Orleans Jazz & Heritage cues between musicians that indicate where one Festival usually brings in a true legend or two each improvised solo is ending and another is starting. year. (This year it was Herbie Hancock and Wayne You might hear how an unintended note or chord is Shorter performing as a duo.) transformed into a musical idea and how musical Expand your mind. Enjoy another path to selfideas are strung together to create a story without realization. Get out and listen to some jazz. words. You might also hear a great solo followed by one that’s less inspiring. But that’s the risk you take when you’re improvising or listening to jazz.
16 April 2016
©2012 danny izzo, nouveau photeau
Garth Alper, School of Music & Performing Arts, University of Louisiana at Lafayette
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Photo by Blake Berard, Courtesy of Red Room Photo Courtesy of Martin Accordions
Photo by Blake Berard, Courtesy of Red Room
Photo by Blake Berard, Courtesy of Red Room
Martin Accordions
A Family Affair
By Emily Brupbacher • Photos Courtesy of Martin Accordions
Vitality and exuberance form the soul of the Cajun and zydeco music we hold so dear. If anyone knows this, it’s Pennye Huval, a woman who has spent her whole life immersed in Cajun music. As an accordion maker at Martin Accordions, Huval sees her work as more than just making great instruments for local and international musicians — she is helping our unique Acadian culture continue and prosper for years to come.
And while the main part of her job focuses on helping create some beautiful and truly unique accordions for musicians of all backgrounds, what Huval loves most is meeting people and sharing a love of our culture. “Every day, I meet people from all over the world,” Huval says. “This work has given me the chance to travel and experience other types of music and culture. I also love playing a part in taking care of our local musicians. The “It’s just been recently that I’ve worked here full-time,” talent found in Acadiana is unbelievable and I’m proud that I have a hand in helping them play and do what they says Huval. “Martin Accordions has been around for 30 do.” years, and I’ve always been a part [of] that. Even when I was working full-time as a teacher or principal, I was For Huval and the rest of the team at Martin working here part-time, tuning accordions, helping with Accordions, the creation of each accordion is a detailtour groups or repairing instruments.” oriented and customer-centered process. “We really want our customers to have a say in what their accordion 18 April 2016
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It’s that commitment to a one-of-a-kind product that makes Huval and her family true artists in what they do. “We are constantly making new parts; we have to
stay ahead with our inventory,” Huval says. “Everything is handmade, so it usually takes no less than 150 hours to make one accordion.”
Photo Courtesy of Martin Accordions
looks like,” says Huval. “We collaborate with them to make sure that everything — the color of the bellows, the stain or color of the wood, the type of buttons — is exactly what they want. We see that a lot of musicians nowadays want a lot of bright, vibrant colors, more art with their instrument now than ever before. We’ve held true to the old German patterns, but with our color selection and other details, we also offer a new vibrancy. The people we work with are more than just musicians; they are entertainers, and their instrument is a vital part of that. We use many exotic woods to make accordions, but we also use more traditional woods like maple. The bellows and reeds we use are handmade,” Huval says, “by the very best craftsmen in Italy, but everything else is handmade by us.”
In addition to their work creating and repairing accordions of all types, as well as other musical instruments, the team at Martin Accordions also hosts tour groups from all over the world. “The groups come in and we give them a little history lesson, not just about the accordion but also about our music and our culture,” says Huval. “Everyone in our family plays music, as well, so we play traditional Cajun and some zydeco music for them, too.”
For the Martin Accordions family, there seems to be a symbiotic relationship between the Acadian culture they love and the work they do for a living. “The music and art in this area are just incredible. We feed off of what musicians are doing and try to incorporate that into our work, whether it’s brighter colors or the little crawfish design on our bellows that’s become a sort of copyright for us. We’re always trying to make it something special.” To learn more about Martin Accordions, please visit martinaccordions. com.
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Yemenite Folk Singers from Israel Johanna B. Divine
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Overture Magazine
Photo by Tomer Yosef
Growing up in the Shaharut village in southern Israel near the Egyptian border, the Haim sisters – Tair, Liron and Tagel – were raised in a musical family. As young women, their playlists included everything from Greek and Yemenite folk music to reggae, prog rock and hip-hop. They studied music and design, and after school, began experimenting with their own material. They sung and recorded songs in English, Hebrew and Yemenite and uploaded videos to YouTube. These early efforts caught the attention of Balkan Beat Box’s Tomer Yosef, and A-WA was born.
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After touring with Balkan Beat Box, A-WA worked with Yosef to produce its debut EP, “Habib Galbi.” The title track is based on a Yemenite folk song the girls knew from childhood. Currently on tour in North America, A-WA is a much-anticipated addition to this year’s Festival International de Louisiane lineup. The band took time out to give Overture readers (and festivalgoers) a better sense of the A-WA experience. Overture Magazine (OM): How does A-WA approach its re-interpretation of traditional Yemenite material? What elements are important for you to keep, and what elements do you feel most compelled to change?
A-WA: In the process of working on our debut album, we collected old Yemenite folk songs that were created many years ago by Jewish women in Yemen. These songs were passed down for choruses to make it more poppy. We also added our generations from one woman to another as an oral own vocal harmonies. It all went to the next level tradition and were never written down before or with our amazing producer, Tomer Yosef, who gave sung outside private celebrations. We wanted to it a much more updated production with up-tempo give these songs our and electronic beats and adding own interpretation some of our musical influences “We wanted to give and to bring them to such as Reggae, Hip-Hop and these songs our own the stage with all their Soul. sassiness, honesty and interpretation and to OM: How would you describe powerful melodies and bring them to the stage your current stage show and lyrics. We have lots of with all their sassiness, performance style? What respect for these brave can Festival International honesty and powerful women and, in a way, concertgoers expect to see? we see ourselves as a melodies and lyrics … we young generation of A-WA: We like to describe our see ourselves as a young women who continue show as an A-WA experience. It generation of women who contains songs of love, protest this tradition into the present. Knowing continue this tradition into and powerful emotions in the that this material was Yemeni Arabic dialect with the present.” very flexible because lively and groovy music. We – A-WA over the years every have four amazing musicians woman could add her with us on stage and it feels like own lyrics or change a very colorful and energetic a melody a little bit, we gave it our own touch. As celebration. We love playing live and communicating with many folk songs, the structures were very long with our audience by using theatrical hand gestures, and monotonic with only A parts, so we took off Yemenite dance steps and lots of jumping. some of these parts and created new B parts and OM: What perspective or experience do you hope 22 April 2016
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Photo by Tomer
Yosef
audiences gain from your performances?
in a more sensitive way.
A-WA: The songs we perform deal with daily life issues, deep emotions and strong desires. We feel honored to pass these songs to new ears and tell the stories and history of our grandparents with a strong message of liberation and of being true and bold. We encourage our audience to dance freely to our music. We know most of them don’t understand the lyrics, but that’s what makes them experience it
OM: How have collaborations with (Festival International favorites) Balkan Beat Box and Tomer Yosef changed A-WA’s approach?
A-WA: Working with Tomer Yosef has totally sharpened our sound and made it more updated and reachable for new ears. Tomer is not only a great musician and performer — he is also a great person. We contacted him through Facebook, asking him if he would like to collaborate with us, he said yes, and luckily, he turned out to be the perfect choice. OM: What is your next big project? What are you working on that A-WA fans can look forward to seeing/hearing? A-WA: We released our EP on March 11th in North America and are now touring the US for the first time. Then we’ll be touring Europe, celebrating the release of our debut album in May in France, Belgium and Switzerland. We have also some surprise collaborations coming soon that we’re very excited about, so stay tuned!
A-WA will perform at Festival International in downtown Lafayette on Friday, April 22, and Saturday, April 23. For a full festival schedule, visit festivalinternational.org. To check out A-WA before the festival, visit a-wamusic.com. Acadiana’s Publication for the Arts
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Avenue of Arts at Festival International de Louisiane By Danielle Ducrest • Photos by Denny Culbert, Courtesy of Festival International de Louisiane During Festival International de Louisiane, Parc Sans Souci becomes a hub of activity. Among the crowds, avenues of white canopies take shape, where fine artists and craftspeople exhibit their work. The arts market, known as Marché des Arts, is home to vendors from around Louisiana and all over the world. An average of 400,000 people roam downtown Lafayette during the five-day festival, but only 90 vendors are accepted to the Marché des Arts. This is not to be mistaken for the Marché du Monde, a separate arts market for 110 commercial and import vendors, which can be found a few blocks away. This year’s Marché des Arts will showcase ceramics, fiber art, jewelry, and more art and crafts, including pieces created by members of the Louisiana Crafts Guild (LCG). Applicants to the Marché des Arts are vetted by a jury panel, with the guild providing half of the jurors. Established in the 1990s, the guild has experience creating outdoor artisan exhibits. The guild’s greatest influence on Festival International occurs in the jurying process. Guild 24 April 2016
members and non-members can apply, but all applicants are held to the same expectations. “The people who help set up the base of this were adamant about having quality art products,” Miles Peterson, the president of the LCG, explains. “We jury everybody according to guild standard.”
This means that the vendors must meet similar requirements to applicants into the guild itself. The guild favors quality, creative expression and artistic excellence from artists and craftspeople. A range of mediums and categories are accepted, from ritual crafts to folk instrument making to glassmaking to woodworking. “It’s a pretty amazing variety of different things that are represented,” says Peterson. What may not be clear to guild applicants is that some types of art and crafts are not accepted, regardless of quality. “It depends on what medium they have,” says Peterson. “Whether they’re jewelers or potters, there are specific items for those types of crafts that we allow and encourage, and there are specific things that we don’t allow.” Among jewelry applicants, for example, bead
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stringing typically isn’t accepted. Kits and resale items are not allowed. Other types of work may also be excluded.
“One of our requirements is that your art is 3-D of some type,” says Peterson. Paintings may be accepted as long as “they have some type of texturing to make them 3-D,” he adds.
This has been the guild’s standard practice since the beginning. Decades ago, Peterson recalls that Lafayette was home to many 2-D art galleries. “There were no galleries [where] you could sell craft,” he says. “That was part of the reason for creating the guild in the first place.” There may be a few exceptions to the guild’s “flat art” rule at this year’s Marché des Arts, which will include photography and drawings. Peterson is a woodworker and owner of Cypress Creations. He joined the guild around 2000. “It was an outlet,” he explains, “to expose my work in town.” Marché des Arts vendors gain exposure to hundreds of thousands of potential customers. “I’ve been there a long time, so I’ve had quite a few repeat customers come look for me,” says Peterson.
The Louisiana Crafts Guild has garnered attention from many festival organizations. “We have a good reputation for having quality products,” says Peterson, “and being able
to produce a show.” The guild juries the artisan booths at the Lafayette Market at the Horse Farm, and in 2015, the Experience Louisiana Festival in Eunice asked the guild for their help to “ensure an authentic LA craft component” of the festival, according to the festival’s web site. The guild also runs the Louisiana Crafts Fair, the artisan booths at Festival Acadiens et Créoles. “When we started doing Festivals Acadiens, it was so dusty in Girard Park,” he recalls. “We got together with the promoters and talked about putting some underground water system in out there and reseeding the park.” Vendors donate items to an art raffle, and some of the proceeds go to the park association for restoration of the park. Festival International, meanwhile, takes care of the technical aspects of the Marché des Arts. “That’s kind of like their baby,” explains Peterson, although the festival staff does accept their advice on how to arrange the layout or on other details about the market.
Marché des Arts will return to Festival International from Friday, April 22, to Sunday, April 24. For more information, please visit festivalinternational.org/artists-eats/marchedes-arts. To learn more about the Louisiana Crafts Guild, please visit louisianacrafts.org.
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26 April 2016
Chatham Meade Kemp of Hattiesburg, MS, multi-dimensional visual artist and printmaker Martin Needom of St. Tammany’s Northshore, and glass artist Kyle Kraiter of Oregon. For Joni Noble, associate professor of art at University of Louisiana at Monroe, this will be her third time exhibiting her photography and paintings at The Big Easel. Noble says what attracts her to this particular show is connecting with so many wonderful art collectors and fellow artists. “The most provocative aspect of The Big Easel is that it is exclusively a show for fine artists, so the people who come are interested in fine art of a very high quality,” says Noble. For those of us who just can’t wait and want a sneak peek, The Big Easel Preview Show continues at Lounge Gallery during 2nd Saturday ArtWalk downtown on April 9, 402 South Buchanan St., from 5:30 p.m. to 8:30 p.m. One piece from each of the participating artists will be exhibited and for sale during ArtWalk before the main event on the following weekend in River Ranch.
Photo Courtesy of Kyle Kraiter
Photo by Joni Noble Photography
For the past 10 years, The Big Easel art show in Lafayette has attracted art lovers and collectors to come out and enjoy an incredible selection of original fine art from various genres, mediums and price points during this one-day event. Now in its 11th year, the show will take place on April 16 in River Ranch Town Square from 9 a.m. to 4 p.m., with a rain date of May 7. The Big Easel is an outdoor art festival with a juried art show, ensuring only the highest-quality artwork from both established and emerging artists from around the state and beyond. This year, 65 artists will exhibit oil and acrylic paintings, mixed-media paintings, photography, sculpture, jewelry, glass, ceramics, and pottery in tents throughout the square. In addition, art patrons will enjoy music from members of the Acadiana Symphony Orchestra, as well as from local guitarist and singer Aaron Paille. “As the event has grown over the years and become more selective in the jurying process, we’ve seen an increase in accomplished artists and art galleries from beyond our Acadiana region applying to be in the show,” says planning committee member Kelli Kaufman. New to The Big Easel this year is Baton Rouge’s Contemporain Bankston/Adams Gallery. Gallery owners Trey Bankston and John Adams will show the work of three artists: landscape painter
Photo by Danielle Ducrest
Fine Time for a Fine Arts Festival
These are free events for all who wish to attend. For more information, call 337-216-6566 or visit facebook.com/ TheBigEasel.
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&
Happy Notes
Debussy, Ravel Dvořák By Jennifer Tassin
“To Mothers with Love,” the Acadiana Symphony’s concert coming up on Mother’s Day, will feature music by Claude Debussy, Maurice Ravel and Antonin Dvořák. Debussy was born in France in 1862 and began studying the piano at age 10. His talents were thought to be so extraordinary that he was enrolled in the Paris Conservatory, a school of music. Debussy actually failed some of his piano exams and began to study composition, the art of writing or composing music.
His books of preludes are pieces that illustrate impressionism views. Impressionism was a movement in art and music that used light and color to capture feelings and experiences. One of those pieces was called “The Girl with the Flaxen Hair.” When you listen to “The Girl with the Flaxen Hair” with your family and friends, try to imagine what the music is about. Draw or paint a picture and compare it with the drawings or paintings created by your family and friends. Ask them what they thought and heard while listening to the music. Maurice Ravel, another composer, was also born in France, and like Debussy, he began piano lessons at a young age. He also attended the Paris Conservatory to study piano but was kicked out for not winning enough prizes for his playing. Ravel returned a few years later to study composition.
Each movement in Ravel’s collection, “Mirrors,” was dedicated to a member of the “Hooligans” group, friends of Ravel’s who were artists, musicians and writers. When you hear each movement, you will actually hear what the title means. Try listening for the guitars in the “Morning Song of the Jester.” See if you hear the bells ringing in “Valley of Bells.” Antonin Dvořák also began his musical studies very
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young. He studied the fiddle (also known as the violin) with his father. When Dvořák moved away to live with his aunt and uncle, he began to study piano, organ and viola. The viola is a string instrument slightly larger than the violin and sounds lower in pitch. He was also a composer.
“Scherzo (Furiant)” is a fast, Bohemian dance in 3/4 time but alternates with 2/4 time. Try to keep time with the music, if you dare! Just imagine how the dancers were able to keep up.
“Allegro” means fast. However, “Allegro ma non tanto” means “fast, but not too fast!” During this movement, listen for the violin and cello trading melodies back and forth, like waves crashing on an island.
Some great books to read about Dvořák include:
Dvořák’s Piano Quintet in A Major features two violins, viola, cello and piano. A quintet is a group of five players or singers. Dvořák’s quintet is divided into four movements: “Allegro ma non tanto;” “Dumka: Andante con moto;” “Scherzo (Furiant): Molto vivace;” and “Finale: Allegro.”
“Dumka” is a song or poem from the Ukraine or Slavic region that goes back and forth between sadness and happiness. Listen for these emotions in the music.
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“Finale: Allegro” is the final movement in a fast tempo. You may hear some “borrowed” music from his friends, Johannes Brahms, Robert Schumann and Felix Mendelssohn. This was a sign of deep admiration for his fellow composers. A musical fugue is also featured in this movement, where a short theme or melody is played by the violins and passes throughout the chamber group. Dvorak in America: In Search of the New World by Joseph Horowitz Silver Moon: Stories from Antonin Dvorak’s Most Enchanting Operas by Ian and Vladyana Krykorka Two Scarlet Songbirds: A Story of Anton Dvorak by Carole Lexa Schaefer
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Dr. May Waggoner 30 April 2016
Photo by Denis Dailleux
FROM FRANCE
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The definition of “world music” is constantly evolving. Applied to the French musical group, Lo’Jo, the word “world” takes on a whole new meaning. The group includes French folk influences blended with the French chanson, music from the Maghreb, sub-Saharan Africa, Spain, Brazil and the Caribbean, performed in venues ranging from Lincoln Center to Germany, from Spain and France to Mali and Benin to a refugee camp in the country of Georgia. The group’s music runs the gamut from complex timbres to the sublimely simple. “World?” I’ll say — and I’m just getting started. Lo’jo was born in the 1980s in Anjou in the heart of France. It is a lovely area where residents take pride in their French, claiming it is free of foreign-pronunciation contamination and therefore the purest in the country. Imagine their reactions in the 1980s when friends Denis Péan and Richard Bourreau formed a group that lived in one home, sang in four languages accompanied by a host of instruments and created music blending myriad influences, played on a variety of instruments
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from violin to saxophone to bassoon to African percussion. (And did I hear a didgery-do?) Their high-energy performances are as tight as the harmonies of their music, driven by an unflagging and insistent rhythm. What a trip!
This is a dedicated, disciplined group that produces music of the highest quality. It is hard to pick a favorite selection from among its 13 CDs. Since a cappella vocal music is the summum bonum of all beauty to me, my personal vote goes to “Magdalena,” in which perfectly matched and tuned soprano voices,
undistracted by instruments, produce an aching and lump-in-thethroat beauty. But choose your own favorite; there is certainly a world of sounds to choose from!
Festival International is all about finding common ground. What will Louisiana festivalgoers find in common with such an eclectic and progressive band? First of all, the music is defined by the same strong rhythms, both heard and implied, which characterize Cajun and Creole music. Secondly, the band’s work is collaborative — what we hear is the result of new ideas discussed during rehearsal and developed by the rest of the group. Their collaborative spirit extends beyond their membership; they have appeared with mimes and acrobats, in films, and in artists’ collectives. Their versatility and adaptability strengthen their work. Third, it is their 32 April 2016
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musical integrity rather than a commercial motive that directs their efforts and guides their message. A look at their website will yield numerous poems and observations, which call to mind Zachary Richard and other poètes engagés from the bayou state.
But don’t overthink by taking the comparisons too far. Just relax; you will be rewarded by well-thoughtout, well-executed songs, where melodies combine with rich harmonies and a foot-tapping rhythm undergirding a strong message.
And one more thing — you will want to take home at least one of Lo’Jo’s 13 CDs.
You can enjoy Lo’Jo at Festival International on Saturday, April 23, and Sunday, April 24. Visit festivalinternational.org for a full festival schedule. To check out Lo’Jo before the festival, visit their website at lojo.org.
OVER 60 ARTISTS IN ONE PLACE IN ONE DAY!
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EASEL
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WILD BULL:
CIMARRON FROM COLOMBIA April Courville
34 April 2016
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Renowned interpreter of this style of music, Cimarrón, from Colombia, has been engaging audiences in over 28 countries around the world with its fast-paced rhythms and intense stage presence. Cimarrón is lead by harpist Carlos Rojas and llanera vocalist Ana Veydó. Carlos was able to sit down with Overture to share a little about the history and mission of Cimarrón and why the band plays the type of music it does. Overture Magazine (OM): How did you all meet? How long have you been playing music together?
Carlos Rojas (CR): We (Rojas and lead vocalist Veydó) have been working together in Cimarrón since 2000. The rest of Cimarrón’s current members have been integrated into the band over the last four years, although each one comes with extensive musical experience (most musicians of the joropo genre start around 7 years of age).
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Buy Louisiana Crafts, By Louisiana Hands
The lineup for this year’s Festival International de Louisiane features performers representing over 22 countries and regions from around the world. One of the regions represented is the Orinoco plains that stretch out over Colombia and Venezuela. This cattle-herding region is rich with cultural expression and features deeply rooted, traditional music and dance called joropo.
he nt i p ho ine. s z to es aga c a M pl op iving t e L f th ern o h e on Sout d te y Vo uth b So
Hours: Tues-Fri: 11am-5pm • Sat: 10am- 4pm | ArtWalk: 2nd Saturday of month: 6-9pm 219 East Vermilion Street • Lafayette, LA 70501 337.266.7999 • sans.souci@louisianacrafts.org www.louisianacrafts.org Follow us on Facebook at www.Facebook.com/LouisianaCraftsGuild Supported in part by: Louisiana Division of the Arts, Acadiana Center for the arts, Lafayette Louisiana Convention & Visitors Commission & Lafayette Consolidated Government
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OM: Tell our readers a little bit about the history of Cimarrón.
CR: Our history can be thought of in two stages: the first stage, which was the exploration and reproduction of the most traditional repertoires of joropo, from 1988 to 1999; and the second stage, starting in the year 2000, in which Ana and I reoriented the work of Cimarrón toward artistic creativity and professional showmanship. Through these two stages, Cimarrón has been a school of learning, experimentation and creativity for artists of the joropo genre. OM: Why play the traditional “música llanera?”
CR: All of Cimarrón’s members grew up, since early childhood, in the llanera, or “plains,” music genre. This style of music has always been very natural to us. Most of us grew to know this kind of music through our parents and ancestors as part of our family heritage. Our goal is to promote this type of music internationally, contributing to the recognition of the cultural value of this heritage from the Orinoco River Plains.
OM: There are some unique instruments in the band — the harp, for example. Can you explain what these are and how they contribute to the unique sounds of Cimarrón? CR: Traditional “llanera” music is played with three stringed instruments: the llanera harp (diatonic harp), the
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cuatro (small, four-stringed guitar) and bandola llanera (four-stringed lute). These instruments were brought to the Plains at the end of the seventeenth century by Spanish settlers (mainly Jesuit missionaries) and were taught to the indigenous people, who played them accompanied by the maracas as the sole percussion instrument. Joropo music is fundamentally linked to dance, a type of stomp or tap dance called “zapateado.” As a harpist, I had the experience of playing this music at parties in rural communities, parties in which the sound of the dance was louder than the sound of the instruments! This made me realize that the dance was an important musical component, and that the sound of the dancer’s feet was an essential part of the music as a whole. I also noticed that when the joropo was played outside this social environment, such as festivals, it lost the sound of the dance and became “chamber joropo,” changing the original intent of the music.
To develop the particular sound of Cimarrón, I redesigned the basic musical ingredients of joropo, so that the rhythmic roots of the dance integrated with the sound of the band to provide a solid support to the joropo melodies that have always been the prevalent sound of joropo groups. To do so, we added the cajon (Peruvian-
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flamenco), the tambora (Afro-Colombian) and the surdo (Afro-Brazilian) instruments to evoke the rhythmic sound and spirit of the dance, and we insist that the joropo dance is always part of the show. This redesign creates a new balance, a new relationship between percussion, strings and voices within the traditional sound of joropo. OM: Cimarrón means “Wild Bull,” and rightly so. Your music is fast-paced and energetic. How does the crowd react to the music during a performance?
CR: The word “cimarrón” literally means a bull that has not been lassoed, corralled or branded. It’s a beautiful allegory for freedom, and we intend to make it a forcefully expressive type of music, liberating the creativity and improvisation of the band members. The explosion of zapateado dance keeps the audience on their toes and contributes to the characteristically high-energy level of Cimarrón’s performances. To get a glimpse of the heritage, energy and artistic expression that Cimarrón brings to their performances, catch them at Festival International de Louisiane on Saturday, April 23 and Sunday, April 24. For more information, visit festivalinternational.org. Discover the joropo music and dance and Cimarrón’s interpretation of each at cimarroncolombia.com.
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Living the Good Life
The Art of Achieving a Sound Mind and Healthy Body
Ann B. Dobie • Photos by Lucius A. Fontenot 38 April 2016
Overture Magazine
In his list of those things in life that are desirable, the Roman poet, Juvenal, gave first place to “mens sana in corpore sano,” or “a sound mind in a healthy body.” The saying may be ancient, but the concept is alive and well today at Embody Zest, the exercise studio of Alyce Morgan, where one can learn a variety of techniques aimed at achieving the mental and physical balance recommended by Juvenal. Although fitness education was not part of her college studies, Morgan received training in Pilates in Dallas and has been teaching those in search of “a sound mind in a healthy body” for 20 years. Arriving in Lafayette in 1997, she was the only Pilates instructor in the city and for 10 years trained others to offer classes. Since then, the popularity of the program has grown rapidly. Where there was only one book in print on the subject in the 1990s, the next 20 years saw explosive growth of interest in it, and today, there are several Pilates trainers now operating in Lafayette. Pilates’ appeal shows no signs of waning. The exercise program was named for Joseph Pilates, who came to the United States from Germany between World War I and World War II. In New York City, he began
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working with dancers in rehabilitation using a system he called “contrology.” Once the dancers realized that his exercises not only helped to heal their injuries but also made them stronger, they didn’t want to stop.
The exercises Joseph Pilates devised are based on his own gymnastics and martial arts background, combined with an analytical approach to body mechanics, posture and correct breathing. As he stated in his 1945 “Pilates’ Primer,” the goal was “to attain and maintain a uniformly developed body with a sound mind fully capable of daily tasks with spontaneous zest and pleasure.” He was not interested in the development of any particular set of
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April 2016 39
muscles but rather the uniform development of a person’s body as a whole. “Contrology,” according to Joseph Pilates, “corrects wrong postures, restores physical vitality, invigorates the mind, and elevates the spirit.” Continued use of his system, he believed, “steadily increases the normal and natural supply of pure, rich blood to flow to and circulate throughout the brain with corresponding stimulation to new brain areas previously dormant.”
Last May, the Embody Zest studio moved out of Camelia House, where it was known as Wise Body. At its new location in the Oil Center, the focus is on bringing the mind and body into balance. A workout does not involve an abundance of repetitions, but it does involve fluid movement of spine, abdomen, and all parts of the body, even the brain, working together. Alyce compares it to a symphony in which wind instruments, strings and all the rest of the instruments must play together in harmony and aural balance. A typical one-hour session will begin with a focus on a warm-up and move on to simple exercises that strengthen posture and work the small muscles. If the small muscles are strong, Alyce says, the big muscles will take care of themselves. The rest of the workout will involve a variety of movements so that no set of muscles is fatigued. This may involve equipment that is based on the original designs of Joseph Pilates: chairs, mats or springs. One of the first effects of the exercises, when practiced every day, is awareness. The effects do not stop there, however. They carry over into daily life, increasing — as its founder pointed out — “zest and pleasure” in daily tasks. When Embody Zest moved to its new location, it expanded its offerings to include yoga and the Franklin Method. Pilates remains the most popular system of 40 April 2016
exercise among those working out at Embody Zest, but the latter is gaining a strong following. It began in Switzerland as the invention of Eric Franklin, who worked on the premise that the brain tells the body what to do. Believing that the more information a person has, the better the body can navigate, he stressed learning about the body and how it moves. In short, the body is designed for good function, but if we don’t understand how its parts work, they won’t work at full capacity. Part of learning about the body in the Franklin system involves associating an anatomical image or a metaphorical one with a body part. Workshops will offer opportunities to play with imagery to help affect positive change. During the two-hour sessions, the exerciser is urged to see the image, feel it, experience it, say it, and use the information in as many ways as possible to improve strength, flexibility and balance. Once the exerciser has a clear image of how a body part moves, there is an “aha moment,” and mental pathways become clear. As a poster on the wall at Embody Zest proclaims, “Your thoughts influence your experience. How do you want to influence yourself?”
The array of exercise routines at Embody Zest is rich and varied. Bar fitness combines ballet and bar exercises, and aerial yoga uses hanging, looped hammocks for stretching and strength building. The most unusual program, however, is Laughter Yoga. Because laughter, whether real or fake, has been proven to have profound physiological and psychological benefits, the workshops combine group laughter exercises with yoga breathing. They begin with laughter, both fake and real, and lead to meditation. Exercise routines are available from several different instructors, who are available to work with men and women, groups and individuals. The purpose is always to fulfill Juvenal’s choice of life’s most desirable possession: mens sana in corpore sano.
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Acadiana’s Publication for the Arts
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Symphony Seauxcial
Mad Hatter’s Luncheon & Style Show February 29, 2016, DoubleTree by Hilton, Lafayette
Photos by Carolyn Brupbacher
Hundreds of beautiful ladies were excited to LEAP INTO SPRING at this year’s annual Acadiana Symphony Women’s League Mad Hatter’s event. Everyone was decked out in their best spring colors and exquisite hats! Butterflies, flowers, fairies and fashion were the elements of the luncheon with fabulous auction items to win. Eleven fashion retailers indulged the crowd with the latest spring wear, active wear, bridal wear and furs. The Mad Hatter donned the stage to encourage the ladies to raise their hand in support of the symphony’s education programs, and indeed, they did!
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Standing Ovation
Mad Hatter’s Luncheon & Style Show Contributors
Hats off to the following sponsors, contributors and style-show participants of the Acadiana Symphony Women’s League’s annual LEAP INTO SPRING Mad Hatter’s Luncheon & Style Show. This year’s sponsors set a new record for underwriting support of this event that raises money for the educational programs of the Acadiana Symphony Orchestra & Conservatory of Music.
TITLE Sponsor
PLATINUM Sponsors
GOLD Sponsors
In-Kind Sponsors
Live Auction Donors
Anonymous Vergie Banks Raffaele Furs & Dolci Modi Boutique
Dr. Pulin Shah Dr. Sangeetah Shah
Style Show Participants
7 Chics Boutique Cabi Endorphine Laura Meyers — Worth New York Le Jour Couture Lemon Drop 44 April 2016
Little Town Raffaele Furs & Dolci Modi Boutique Park Lane Renaissance Market & Brasserie Shoe La La
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Community Seauxcial
Moonlight & Music: A Time for Love March 12, 2016, Petroleum Club of Lafayette
Photos by Carolyn Brupbacher
Chorale Acadienne hosted its annual fundraiser, Moonlight & Music: A Time for Love. Chorale Acadienne performers sang love songs that filled the air while guests enjoyed a wonderful, sit-down dinner and placed their bids in the silent auction. The Petroleum Club in the Oil Center was the perfect setting for this lovely evening of fantastic music, great friends and delicious food.
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T wo S choolS • o ne c ampuS Catholic • Independent • Single-Gender education
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337.662.5275 www.sshcoteau.org SSH accepts qualified students of all races, religions, national and ethnic origins. Acadiana’s Publication for the Arts
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48 April 2016
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