smiracle-4th-3.jpg Loading Video . . . Responding to Ecclesiastes 1:8-18; 2:17-26; 3:11; 6:7-12; 8:6-17, 2016 Artist in Residence Stephanie Miracle chronicles the unfolding of her project's final performance for a beautifully unexpected audience. Ecclesiastes 1:8-18 Ecclesiastes 2:17-26 Ecclesiastes 3:11 Ecclesiastes 6:7-12 Ecclesiastes 8:6-17 Artist in Residence 2016: Stephanie Miracle By Stephanie Miracle Credits: Title: “3, 2, 1, the future.” Photos by Dominque Chabot Curated by: Spark+Echo Arts, Artist in Residence 2016 2016 Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link For there is a proper time and procedure for every matter, though a person may be weighed down by misery. Since no one knows the future, who can tell someone else what is to come? As no one has power over the wind to contain it, so no one has power over the time of their death. As no one is discharged in time of war, so wickedness will not release those who practice it. (Ecclesiastes 8:6-8) It was November 26. A typical monochromatic winter afternoon in Germany, drizzling rain and unpleasantly cold. Huddled together waiting for the bus I stood with my group of ten performers hailing from France, Japan, Singapore, Taiwan, Germany, and Italy. The city bus arrived. We piled and were transported further away from the city into the winding country side of horse pastures and mustard fields. On our journey we exchanged nervous, excited questions about the place we were going and the people we were to meet. Our destination was a newly constructed refugee welcome center just 20 minutes up the hill from us. It was designed to temporarily house up to 700 refugees before placing them in permanent residential units across various cities all over Germany. Our invitation was to to present was a kind of "welcome" and "here is something to enjoy while you wait" performance. I had been asked to create a piece of choreography for this event back in October when I was contemplating my final post for this Spark and Echo residency. Originally I had set a goal of making two dance films based on the selected passages from Ecclesiastes. One was to be a solo and the other a Fakers Club performance in a public space. My 2nd and 3rd posts are variations on these ideas but for my final posting I no longer felt compelled to push in this initial direction. When the opportunity to create something for the refugee camp arose I decided to shift my focus in this direction for the final posting. Working with the last passage from my selection of Ecclesiastes 8:6-17, I took inspiration from ideas of time, future, power, meaninglessness, misery, seeing, wisdom, understanding, what is fair and unfair, and joy. We arrived at the complex of building several hours before the schedule performance. First step was to get through security. The refugee building was under very strong protection and entrance required a criminal background check plus lots of paperwork. Patience was difficult to muster with so much anticipation surrounding the event. Once cleared we wound our way through a network of buildings to the enormous mess hall characterized by a shiny, stainless steel industrial kitchen and hundreds of pine tables, chairs and matching plywood walls. We cleared an area of the space to create a makeshift stage. Families with young children, men young and old trickled in and shuffled around to find a seat they liked. The performers also found a seat in the "audience" area. All together about 200 people waited in silence, staring at an empty space. Photo from "3, 2, 1, the future." And then orchestral music begins to swell. One by one the performers stand up on their chairs among the audience. The performers call out each other's names and begin pass a glowing blue ball above the audience. The music shifts to Afro-Funk and a wild game of toss explodes. The children go nuts. Seamlessly the ball disappears but the game continues and intensifies with an invisible ball. The performers jump and tumble all through the space, catching and passing the imaginary ball. The music stops everyone freezes. The performers slowly and quietly return to their chairs. The audience is trying to contain the giddiness the sport just stirred up. Two girls begin to whisper to each other across the room. They crawl out of their chairs and meet. The other performers come to find them and carry the two girls overhead. As their conversation continues they are floated above audience heads. A new person is picked up and transported through the space as the discussion continues. The group congregates and bodies assemble together to form a house like structure. One girl explores the house as a thunderstorm soundtrack plays in the background. The house of bodies collapses around her. Out of the rubble it rises again and lifts her up on its shoulders. She find pulls out a small bottle in her pocket, looks at it carefully and begins to blow the bubbles through the air. The children gasp with glee. The performers reach out to gently catch the bubbles and they transform into glass marbles. The clunk of marbles hitting the floor relates the silent burst of a thin soapy sphere. One man begins to collect all the marbles one by one. Momentarily halting the play. Who gets to have the marbles? For a tiny moment time is suspended. The man with the marbles looks around and begins to place one in the hands of audience members. The performers return to their seats and dance miniatures dances with the marble. So small they are only intended for people sitting closest to them. The music quiets and everything returns to stillness. Long after the performance the young and old continue to roll the small marble gifted to them through their fingers. Photo from "3, 2, 1, the future." I have almost no documentation of this final project in the series. The reason being security measures meant that video was completely prohibited and only few people were authorized to take photos. Although we have more photos available we are not allowed to use them because the faces of the audience are recognizable. Because most of our performance was intended to be in, among, and through the audience nearly all of our photos have faces of refugees in them. The photos I am posting here are permissible for use. Like all time-based performances, this piece disappeared almost instantly after it emerged. What lingered were only the smiles and beaming eyes. A feeling of joy hovered. It is hard for me to discuss dances in verbal language because I am more interested in visceral and emotional gut reactions. This is why I was drawn to the passages of Ecclesiastes originally. Because I feel the writers ideas through his language. I feel his frustration and confusion and joy and release. The writing is circular and moving around. Not landing on a final answer. It attempts comprehension but finds that it can't. It can't understand. I feels disappointing, absurd and hopeless. Yet in the end it feel that the writer focuses on joy. While studying this final passage in my Spark and Echo series I was reminded of another verse in scripture. "At that time Jesus, full of joy through the Holy Spirit, said, "I praise you, Father, Lord of heaven and earth, because you have hidden these things from the wise and learned, and revealed them to little children. Yes, Father, for this is what you were pleased to do." ( Luke 10:21 ) Photo from "3, 2, 1, the future." After our small performance vanished it was the laughter of the children that remained. And at the end of my year long residency it is the joyful promise that what is hidden and confused and darkened will be revealed to little children that remains with me. Spark Notes The Artist's Reflection Stephanie Miracle is an American born independent choreographer and performer currently based in Essen, Germany with her husband visual artist Jimmy Miracle. She earned her MFA in Dance at the University of Maryland and a BA in Dance from Belhaven University. She is also a teacher of Klein Technique™ and holds prestigious honor of being a 2014/15 German Fulbright Fellow in the Performing Arts. In 2015 she joined as a full-time dancer with the Folkwang Tanzstudio/FTS. In addition to performing with the company she often works in collaboration with Henrietta Horn (DE), Carla Jordao (PT), Ana Farfan (MX), Paola Ponti, (IT) and Anna Shchkleina (RU). She is the director of Fakers Club, a site-specific performance experiment based on film and serial television. Stephanie's choreography has been described as “iconic and nuanced…with an irreverence that makes you smile unconsciously”(Rick Westerkamp, 2014). Often in vivid technicolor, Miracle’s works are crafted with a cinematic sensibility and follow subtle narrative threads. In addition to creating choreographies for traditional proscenium theaters her unique aesthetic finds special significance in common spaces for example, parking lots, bus stops, woman's prisons, hallways, staircases, and rooftops. in Germany, Hungary, Mexico, Russia, New York City, and Washington DC by various institutions including MetLife Foundation, Exchange Festival, Dance Place, Supernoval Festival, Open Look Festival, Performatica, Belhaven University, ES WIRD SOGAR SCHÖN, Barnes Crossing, The Clarice Smith Performing Arts Center. Other awards include the Smith Scholarship Grant to attend ImPulsTanz in 2012, dance artist-in-residence at OMI International Residency 2012, DC Innovation grant in 2013, Bates Dance Festival Merit Scholarship 2013, Goldhaber Travel Scholarship 2014, and NextNOW new work grant 2014. Her collaborative piece “Drafting Plan” was awarded Best Duo at Barnes Crossing Festival 2015 in Cologne and at the 2016 SzoloDuo Festival in Budapest. She is honored to be a 2016 Artist in Residence at Spark and Echo Arts. Website Stephanie Miracle About the Artist Artist in Residence 2016: Stephanie Miracle Part 1 Artist in Residence 2016: Stephanie Miracle Part 2 Artist in Residence 2016: Stephanie Miracle Part 3 Treasure Heart Stephanie Miracle Other Works By Follow the developmental journey of Stephanie's project by reading her first , second , and third post as a 2016 Artist in Residence. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Composer Doug Detrick explores the account of Jonah (from Jonah 1-2 ) as it relates to the great American novel, Moby Dick, with his captivating work for jazz ensemble and narrator. Jonah 1:1-2 Ishmael and the Whale By Douglas Detrick Credits: Performers: Ren Jackson, Narrator; Anywhere Ensemble Venue: Neighborhood Church of Greenwich Village, NYC Artist Location: Portland, Oregon Curated by: Jonathon Roberts 2014 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I was reading Moby Dick for the first time in 2013. As a joke, I started “live tweeting” my reading of the book, pretending as if it was one of the mass audience events that people usually treat in this way. My Moby Dick tweets started out snarky. “Ok, fine, I’ll call you Ishmael,” I said. But, as I got further into the book, and I started to realize that I was actually processing this book, understanding the details of the writing and getting to know the characters much better than I’m usually able to, especially for such a long work. In Chapter Nine, where Ishmael sits in a chapel on Nantucket and hears Melville’s retelling of the Jonah and the Whale story, I found the bringing together of these two stories really caused a profound collision of values. Jonah’s great humility makes Ahab’s hubris look all the more like naked aggression. Its an amazing foreshadowing of what’s to come in the novel. When I wrote my text, I wanted to bring out the background of both stories, and talk about why they seem to oppose each other so completely using a blend of journalistic techniques and theatrical character development. The narrator walks a fine line between commenting on the story as an investigator, and as a character from the story. The music works almost like another character, sometimes supporting the narrator, sometimes contradicting him, always amplifying the speaker’s wonder at the depth of intersecting meanings in this collision of stories. I want to offer sincere thanks to Spark and Echo for this opportunity, for their help in producing the premier performance, and for welcoming a non-Christian artist like me to participate in their project; to Ren Jackson for his great work with the text; to the musicians of AnyWhen Ensemble for their continued assistance in executing my diabolic plots; to Keith Biesack of ITGLOWSNYC for donating that amazing wine at the performance; and to Kirk Van der Swaagh of the Neighborhood Church of Greenwich Village for offering the use of their wonderful space in Greenwich Village. Spark Notes The Artist's Reflection Douglas Detrick is a Portland, Oregon-based composer, trumpet player, and arts consultant whose work in these diverse areas is distinguished by its quiet thoughtfulness and its embrace of good ideas from unconventional sources. He was awarded the 2011 Chamber Music America New Jazz Works and Presenting Jazz grants for his work with his chamber-jazz quintet Douglas Detrick’s AnyWhen Ensemble, and the commissioned work “The Bright and Rushing World” was premiered at New York’s Jazz Gallery in 2012 and performed throughout the United States. He is currently the Executive Director of the Portland Jazz Composers Ensemble, and performs in Oregon as well as touring nationally with AnyWhen Ensemble. As an arts consultant to individual artists and arts organizations, he helps to clarify goals and define strategies for achieving them through fundraising, program design, marketing, WordPress websites, and career coaching. douglasdetrick.com anywhenensemble.com Website Douglas Detrick About the Artist Douglas Detrick Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . 2017 Artist in Residence Lily Maase presents her nearly-completed song cycle, Buried in Wicked Light inspired by Revelations 9:10-20; 11:3-7; Isaiah 8:11; Proverbs 4:23. Proverbs 4:23 Isaiah 8:11 Revelations 9:10-20 Revelations 11:3-7 Artist in Residence 2017: Lily Maase By Lily Maase This album contains some strong language, references to violence, and allusions to drug use, and may not be suitable for all audiences. Discretion is advised. Credits: Composed, Written, and Performed By Lily Maase. 2017 Curated by: Spark & Echo Arts, Artist in Residence 2017 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Buried in Wicked Light is a rock opera about standing tall at the end of the world. It is a series of love letters—from the author to herself and others, and from the author's mother to her memory of herself as a little girl. Written in loving remembrance of my father Steve Maase, and in witness to what we lived through when I was young. I am a grown woman now. I wish you were here to see whatever happens next. Spark Notes The Artist's Reflection Lily Maase is a rock, country, jazz and classical guitarist raised in New Mexico, educated at the University of North Texas, and living in Brooklyn, New York. She is contributing writer for Premier Guitar Magazine and has contributed to Guitar World and Guitar World’s Acoustic Nation, who recently lauded her as a “master guitar teacher.” She is the founder and owner of Brooklyn GuitarWorks, a workshop-oriented center for guitar and bass guitar education located in Williamsburg. Lily is the lead guitarist, musical director and bandleader with the Rocket Queens all-female tribute to Guns N Roses and the Suite Unraveling (Tzadik). She is the lead guitarist with Gato Loco, and is endorsed by Godin Guitars. Her playing has been featured by Vans.com, Maxim.com, Guitar World’s Acoustic Nation, Teen Vogue, and Elle Magazine. Website Lily Maase About the Artist Artist in Residence 2017: Lily Maase Part 1 Artist in Residence 2017: Lily Maase Part 2 Artist in Residence 2017: Lily Maase Part 3 Look Out Below Lily Maase Other Works By Read the complete set of lyrics to Buried in Wicked Light . Follow Lily's project's development throughout the year by reading her previous first , second and third posts. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . The work of musician Justin Keller captures the sense of overwhelming awe found in the heavenly vision as described in Revelation 4:2-8. Revelation 4:2-8 Lion, Calf, Man, Eagle By Justin Keller Credits: Written, performed, and recorded by Justin Keller. 2016 Curated by: Sarah Gregory 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link "Lion, Calf, Man, Eagle" I was always fascinated with Revelation when I was a kid. I didn't understand the symbolism (not that I do now), but the images it conjured up in my imagination were astounding. I wanted to capture some of that daydreamy wonder with this song. My normal tendency is to pile lots of stuff onto an arrangement to build it to a climax, but I decided it would be better here to give the listener the feeling of being dropped into this amazing scene that has started long ago and shows no signs of stopping or creating a crescendo. I also went against my initial instinct with the words I chose to set. The "Holy, holy, holy" chorus is the obvious choice, but it's been set to music many times by superior composers. I ran the passage by an editor friend of mine, and he fixated on the "full of eyes around and within" phrase. As it's repeated, it can take on different meanings, which I love. When I first read it, I just imagined these heavenly creatures with many eyes. As I recorded the song and sang and heard the phrase over and over, its meaning shifted according to my mood and what else was on my mind. I hope the listener has a similar experience. A few nerdy notes about the music: I came up with the rhythm section parts by using some serial composition techniques with the numbers in the passage. I love having numbers to help me set limits on my musical choices. The saxophone part was improvised as I looped the backing parts and thought about the passage. Sort of my own musical narration. Spark Notes The Artist's Reflection Justin Keller Started in Brooklyn in 2007, Land of Leland is the musical project of multi-instrumentalist and singer-songwriter Justin Keller. LoL’s releases include a self-titled EP and a full-length record, Home/Away, which just came out in April on Primary Records. Justin occasionally plays shows with different iterations of the band, from solo to sextet. View more info at www.LandofLeland.com Website Justin Keller About the Artist Justin Keller Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . This hauntingly beautiful song by indie singer-songwriter Mara Measor explores the importance of experiencing darkness in order to know light in response to Isaiah 60:2. Isaiah 60:2 Weight of the Dark By Mara Measor Credits: Written, Composed, + Performed by Mara Measor Curated by: Spark+Echo Arts 2020 Indie Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link See, darkness covers the earth and thick darkness is over the peoples, but the LORD rises upon you and his glory appears over you. (Isaiah 60:2, NIV) The idea of a thick darkness covering the peoples fascinates me. It reminds me of the poetry in Genesis 1: "darkness was over the surface of the deep, and the Spirit of God was hovering over the waters." We tend to think of light as good, dark as bad — but I wonder if we are always too quick to apply a positive/negative dichotomy to whatever concept we get our hands on. In the Weight of the Dark, I explore the idea of darkness being necessary to know light. And while darkness can be unpleasant, unwanted, painful; it's an important state to fully feel so that light and lightness can also be fully felt. Spark Notes The Artist's Reflection Born and raised in Hong Kong, Mara Measor is half-British and half-Chinese but you wouldn’t guess it when you hear her. After high-school she spent a year working and singing in Ethiopia and now performs as an indie singer-songwriter in NYC. She was featured as “One to Watch” in Audrey Magazine, and her bilingual song “I want to Love You” recorded live on a Hong Kong TV Channel RTHK was shortly selected as a Best of the Year performance in 2012. She has played in NYC venues including Joe’s Pub, the Bitter End, Caffe Vivaldi and the Museum of Chinese in America. She has also sang in Shanghai and South Korea. Mara graduated with an acting degree from NYU Tisch. She has appeared on TV (Blue Bloods, CBS), off-Broadway shows and starred in numerous independent films. She is currently a recording artist at Good Mood Records, where she works in collaboration with Emmy-Award winning producer and composer Jamie Lawrence. Her debut album “Mara” was released August 2013. www.marameasor.com Instagram: instagram.com/marameasor Website Mara Measor About the Artist You Saw Me Mara Measor Other Works By Read: Weight of the Dark lyrics Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Filmmaker John Egan created this film in response to passages from Joshua 1:1, 3-6, 9-18; 3:5, 11-12; 4.2. Joshua 1:1 Joshua 1:3-6 Joshua 1:9-18 Joshua 3:5 Joshua 3:11-12 Joshua 4:2 Joshua By John Egan Credits: Curated by: Michael Markham 2015 Short Film Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link In reading Joshua (the book of war) I began to hear three distinct voices arise from the verses: one of a militant, one of a father, and one of a son. Initially I wanted to write three monologues for these characters, adapting the verses that I felt spoke for/to each of these characters. What evolved were three scenes, led by each of these characters. The result was a sort of triptych film, that (I hope) deals with the cycles of war through family generations and unpacking what it truly means to be "strong and courageous." What does it mean to be spoken to by God? Does that give us authority over others? Are so we naive to think that war will save us, even if we have "goodness" on our side? After we've destroyed our enemies, where does that leave our young men who fought? Spark Notes The Artist's Reflection A Minnesota native, John Egan has been a performing artist in NYC for the past 14 years. John is grateful to Spark and Echo for the opportunity to create a new piece for this ambitious campaign. John is a member of BREAD Arts Collective as well as CORE Artists Ensemble. Currently he can be seen in RISE AND FALL at People Lounge, every Sunday night at 8pm. John is a graduate of The Juilliard School. Website John Egan About the Artist John Egan Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Kimberly Grey's poem explores the sweetness and the pain of love, inspired by Genesis 5:2. Genesis 5:2 System with Some Kindness By Kimberly Grey Credits: Curated by: Kent Shaw 2016 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This passage from Genesis immediately got me thinking about the word "kind" that was attached to the idea of humanity as it was created. And I couldn't help but think: but are we kind? Sometimes, yes, sometimes no. And I immediately thought of lovers, how it seems impossible for two people who have chosen to combine their lives together to be solely kind or solely cruel. There's usually some kind of back and forth between the beloveds. This is what makes the engine go. Keep going. Because I'm working on a series of poems called "systems" (where an idea is repeated in broken down parts or ideas to make some kind of larger statement) I saw that this poem could fit into that project. The word kind eventually breaks down, becomes kings, kins, rinds, as the larger idea of kindness is explored. I couldn't help but think of Aristophanes' speech about lovers, that human beings were originally round organisms composed of two people joined together. But Zeus chopped each of them in two and now, as a result, the lovers go through life constantly searching for the other person who can make him whole again. Though it may sound romantic, it's this action of combining two beings that creates difficulty. No person who ever loved another person didn't experience some kind of pain from it. The poem is interested in that pain, in the erasure that occurs when two people attempt to act as one. There will undoubtedly be some kind of suffering and some kindness around the suffering. Spark Notes The Artist's Reflection Kimberly Grey is the author of The Opposite of Light, winner of the 2015 Lexi Rudnitsky First Book Prize and published by Persea Books. Her work has appeared in Tin House, A Public Space, Kenyon Review, Boston Review, Southern Review , and many other journals. She is the recipient of a Wallace Stegner Fellowship and Civitella Ranieri Fellowship and currently teaches creative writing at Stanford University. Website: www.kimberlyMgrey.com Website Kimberly Grey About the Artist Kimberly Grey Other Works By Related Information View More Art Make More Art Let me state, this will not end kindly. There was a woman and a man, some kind of language between them. View Full Written Work “He created them male and female and blessed them. And he named them “Mankind” when they were created.” Genesis 5:2 System with Some Kindness by Kimberly Grey Let me state, this will not end kindly. There was a woman and a man, some kind of language between them. It’s easier to tell the story of what binds than what wounds them – Said her: Kindly clean your feet, Said him: kindly find your mind, Said both: would you kindly mind your fine fine eyes? Who would hope for this? “I examined you when you were in the most pain,” said neither. Both rinds of leftover fruit, gone and bad. Lovers are not kings, not kinds of kings, not kins, even. If you pay attention, you can hear them win in their losses. They practice, with their contours, a kind of war: coming together shape to shape, resembling a geometric sameness: “love and hate in combination make an irresistible enemy” – I don’t know who said this and if they meant it kindly, but what binds the lovers, what makes them kind, is their bodies together, the spherical shape the Greeks ached for. They lay outside of Olympus, anthropologically unapologetic, mind to mind, cheek to cheek, striving for and writhing in this kind of “ness”: No lover not loved a little remissed (erasing the eyes the thighs the feet the lips) No neck bone broken quickly without it. Close Loading Video . . . Let me state, this will not end kindly. There was a woman and a man, some kind of language between them. Download Full Written Work

Loading Video . . . White Robe is a musical response to beautiful imagery in Revelation 7, composed for a couple to celebrate their anniversary. Revelation 7:9-17 White Robe By The Spark & Echo Band Credits: Composer: Jonathon Roberts Musicians: Jonathon Roberts, piano/vocal; Emily Clare Zempel melodica/vocal; Jay Foote, bass; Mason Neely, drums Mixing by Alexander Foote Mastering by Matt Shane at Masterdisk NYC Curated by: Commission 2011 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link White Robe is a love song commissioned by Amanda Bourman for her husband, Timothy Bourman in celebration of their 3rd wedding anniversary on May 31st, 2011. Revelation 7:9-17 was their 'engagement verse' that Tim read to Amanda after he proposed to her in the Conservatory Gardens in Central Park, NYC. Tim Bourman is a pastor at Sure Foundation Lutheran Church in Woodside, Queens. We are very grateful for this commission, their friendship, and their generosity to Spark and Echo Arts. Spark Notes The Artist's Reflection The Spark & Echo Band is a family outfit of songwriting-storytellers led by husband and wife duo Jonathon Roberts and Emily Clare Zempel. Their music brings forgotten poetry and wild stories from the Bible to life: visions of sparkling wheels in the sky, hunger and thirst, and legends of love as strong as death weave with memorable melodies and captivating rhythms. Drawing from a classical background, influenced by the pianism of Rufus Wainwright and Ben Folds, and emulating Paul Simon’s narratival techniques, Spark & Echo sings epic tales of love and adventure. The duo has collaborated on three full lengths albums (Spark&Echo, Inheritance, Cities Project), one video album (In the Clocktower), in addition to many theatrical collaborations, this very nonprofit, and two children. They live in beautiful Beacon, New York, with all of the above. Website The Spark & Echo Band About the Artist What a Day Deep Calls to Deep Yo Sé Do You Love Me? Where Can I Go? How to Be Free Flesh Lifeblood Artist in Residence 2015: Spark & Echo Band Take to Heart The Wheels Frogs Ruined Inheritance The Spark & Echo Band Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

The Rejoicing of Obedience The Ruin of Idolatry Loading Video . . . Visual artist Nicora Gangi explores behavior and outcome in this diptych responding to two juxtaposing passages in 2 Chronicles (vv 7:10; 22:4). 2 Chronicles 22:4 2 Chronicles 7:10 The Body without the Spirit | 2 By Nicora Gangi Credits: Curated by: Spark+Echo Arts 2021 11 x 14 inches Paper and digital collage Mixed Media Collage Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link About “The Rejoicing of Obedience” (from 2 Chronicles 7:10) Then on the twenty-third day of the seventh month he sent the people to their tents rejoicing and happy of heart because of the goodness that the Lord had shown to David and to Solomon and to His people Israel. The whole congregation expressed the greatest joy and satisfaction imaginable. They kept the feast of the dedication of the altar, then the day of atonement, and finally, the feast of tabernacles. We must never begrudge the length of hours, days or even weeks we spend in the worship of God and communion with Him. For the joy and happiness of heart will so far outweigh any length of it. About “The Ruin of Idolatry” (from 2 Chronicles 22:4) Ahaziah was 42 years old when he became king, and he reigned one year in Jerusalem. [...] He also walked in the ways of the house of Ahab for his mother was his counselor to do wickedly. And he did evil in the sight of the Lord like the house of Ahab… (2 Chronicles 22:2a, 3-4a, NASB 1977) A repetitive statement in II Chronicles is: “He did evil in the sight of the Lord.” These kings debased and destroyed themselves because they kept close to the kinds of idolatry, lewdness and sensuality, which the God of Israel strictly forbade. Forsaking the divine guidance that was theirs through the good and famous priests and Levites who taught the knowledge of God in David’s life time, they listened to the counsels of their relations, becoming a ruin to the nation of Israel. Spark Notes The Artist's Reflection Nicora Gangi was educated at Syracuse University, Syracuse, New York, USA (BFA 1974 and MFA 1976). She was a Professor of Art at Syracuse University for 29 years. Gangi has been awarded many Grand Prize and First Place awards and grants. She has been and continues to be published in numerous artist’s books on pastel paintings. She has lectured regionally and nationally as a visiting artist at universities and artist’s guilds. She is represented by: Edgewood Gallery (Syracuse, NY), and Gangi Studio (Winter Garden, FL ). Website Nicora Gangi About the Artist The Mountain of the House of The Lord I See Him but Not Now So Shall Your Descendants Be This One The Body without the Spirit | 1 The Body without the Spirit | 3 The Sealed Ones Peace with God The Everlasting Protective Love of God Our Father When the Lord Gives Us The Land I See Him but Not Now The Mountain of the House of The Lord Paneled and Ruins Series The Harvest Spirit of God-The Spirit Hovering Memories Lies Fool Dance Your Truth from the Great Congregation Psalm 18 Sound of Their Wings Psalm 16 Kiss the Son EAST, WEST, NORTH & SOUTH AT HIS TABLE Nicora Gangi Other Works By View the other two posts in this collection at: The Body without the Spirit | 1 The Body without the Spirit | 3 Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Composer Jonathon Roberts' work I Am a Fool is a setting of Paul's vivid writings in 2 Corinthians in which the apostle "boasts" of his sufferings and waxes on foolishness. 2 Corinthians 11:16-29 I Am a Fool By Jonathon Roberts Credits: Musicians: Jonathon Roberts: voice, piano, FX; Emily Clare Zempel: voice, clarinet, bassoon Artist Location: New York City Curated by: Jonathon 2010 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This song and sound design sets our adaptation of some of the Apostle Paul's dynamic writings to the Corinthians. Paul is all over the place using sarcasm, graphic imagery, humor and frustration to get his point across. I love it. Here is an excerpt from the original text: Let no one take me for a fool. But if you do, then receive me just as you would a fool, so that I may do a little boasting. In this self-confident boasting I am not talking as the Lord would, but as a fool. Since many are boasting in the way the world does, I too will boast. You gladly put up with fools since you are so wise! In fact, you even put up with anyone who enslaves you or exploits you or takes advantage of you or pushes himself forward or slaps you in the face. To my shame I admit that we were too weak for that! Credits: The “Train Whistle” sound was made by combining and manipulating Truck and Train samples from Freesound.org by users euroblues and daveincamas. Spark Notes The Artist's Reflection J onathon Roberts is a composer and sound designer for games, film, theatre, and ensembles. His style grew out of classical and jazz training, and evolved through quality life adventures: touring the country in an RV with a one person theater piece on the Apostle Paul, living in Brooklyn with an improv music ensemble, performing in a downtown NYC absurdist comedy band, and a long stint writing music for the renowned slot machine company, High 5 Games. He has released four albums including the latest, Cities a song cycle personifying biblical cities. He created the popular podcast/web series ComposerDad Vs. Bible , in which ComposerDad accepts intense compositional challenges from a mysterious Bible while out with his kids. He frequently collaborates on music and theater projects with his wife, actor Emily Clare Zempel. They live in Beacon, NY, with their two boys and a tangled box of electrical cords. www.jonathonroberts.com Website Jonathon Roberts About the Artist Loving Arms I Make Tents The Sower Response There Is Room These are My Sons Consider Me a Partner Weakness The Day Is Almost Here Surrogate Babbler Remember Me Prayer How Beautiful The Constant Ecclesiastes Cows Blessing Fools for Christ More Than Rubies Only a Few Years Will Pass Dear Friend Jonathon Roberts Other Works By I Am a Fool It’s no wonder for Satan himself masquerades as an angel of light It’s not surprising then, that all of his friends are dressed up in righteousness O I’m too weak for this It’s no wonder you put up with fools when you are so very wise They slap your face and then boast of your slavery, so too I will join their cries For I am a fool. Please take me as a fool ’cause I am I am a fool, take me as a fool ’cause I am and I’ve no where else to go To my shame I am too weak for this It’s no wonder you follow the first man who pushes his way through the crowd He enslaves your skin, exploiting your name, he boasts to the world out loud So I, too, will boast: I’ve been beaten and stoned, I am bleeding, naked and left for dead, I’m in prison now, I’m shipwrecked and sore, I’m weak but I am proud For I am a fool. Take me as a fool ’cause I am. I am a fool, there’s power in weakness, my strength was never my own. It’s no wonder for Satan himself masquerades as an angel of light It’s not surprising then, it’s not surprising then… For I am a fool. Please take me as a fool ’cause I am. I am a fool, slavery is safer than living your life on a bus. To my shame I am too weak for this. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

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

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