by Brian Winnie

Choral music has been a part of social entertainment and the theatre since the times of Greek tragedy. Today choral music is often used in theatre, movies, and commercials to stimulate certain emotional responses and enhance dramatic plot points.

ChoralSounds Northwest (CSN) represents a community of talented vocalists from teenagers to retirees. Beginning in January of this year, we embarked on a journey of the discovery of great choral and solo music featured on the stage and screen. Through this rehearsal process CSN has studied the vast difference of vocal colors and styles in the classical music of Mozart’s Dies Irae, the popular music of Green Day’s American Idiot, the theatrical music of Stephen Sondheim’s Sweeney Todd  and Into the Woods, the exciting music of John William’s Star Wars Phantom Menace, and more.

We have grown together as we establish our new goal of providing authentic musical performances of all vocal and musical styles. The choir has been exploring and learning the elements of choral and solo classical singing technique, musical theatre mix and belt technique, and the vocal stylings of contemporary popular music.

I could not be more proud in the growth of this choir in our first season together. This show titled Rockin’ the Boat truly rocks the boat of traditional choral concerts and programming. The show will feature not only diverse styles of vocal music but will weave them together with a descriptive narrative through story telling, comedy, lighting, staging, costumes, and choreography/choralography.

This remarkable community of musicians has worked tirelessly at advancing their musical skills and creating a dynamic concert showcase for all ages. We hope the audience leaves feeling like a part of our community and feeling inspired by the vocal sounds and message of CSN.

This is Winnie’s first season as Artistic Director of Choral Sounds Northwest.  The group’s spring concerts will be performed May 12 and 13 at the Highline Performing Arts Center.  See the SoCoCulture calendar for details.

by Leslie McMichael, harpist/composer

I call myself a movie-loving musician, so I was pretty thrilled when I was given a serendipitous chance to write new music for a classic silent film. In 2007, the Northwest Film Forum commissioned me to write a new score for the 1924 silent film version of Peter Pan. After  being lost for generations, the film had been recently located and restored — it’s the only  film version of Peter Pan over which author J.M. Barrie himself had casting approval!

To compose the score, I watched the film several times and wrote longhand notes about every scene and character, developing musical themes to reflect the moods in the storyline. Certain motifs reappear in the score whenever an actor appears — Peter Pan’s cocky “crowing” when he is pleased with himself, for example, and glissandi for Tinker Bell as she flies.  I wrote the score for three harps — pedal, Celtic, and electric — and worked hard to time the music to the onscreen action.  (Thank goodness for modern tools — I relied on a DVD remote and Radio Shack timer!)   My personal scores are annotated with handwritten cues like “Nana with spoon” and “Peter, how old are you?”

Since composing the Peter Pan score and premiering it at the Northwest Film Forum in Seattle, I have toured with the film at screenings throughout the U.S., including Los Angeles, Houston, and Oklahoma City. After receiving many requests, I made a CD recording of selections from the score — it was released just last month.

Last year I was given another film scoring opportunity — Mary Pickford’s 1917 film A Little Princess – which I’ve had the pleasure of presenting with my live harp accompaniment at the grand opening of the Pickford Film Center in Bellingham and at the Tacoma Public Library for the 2012 First Night celebration.

But later this month, I’ll be back to soaring with Peter, Wendy, Tink, and the Lost Boys of Never Never Land when I head to the Auburn Ave Theatre for a matinee presentation of Peter Pan on January 22.  As a South King County girl myself (born and raised in SeaTac, now living on Vashon), it’s a real treat to present to a hometown crowd.

In this buzzy age of hyperlinks and Tweets, this film gives everyone a chance to slow down, connect with our rich heritage of cinema and hear new live music for a charming old movie. It’s great fun for children of all ages — I do hope you’ll be able to join me!

For information about the Auburn event on January 22, call 253-931-3043 or click here. For more information on McMichael, visit www.pluckmusic.com 

High school seniors Sophy and Annastasia are
learning how to market the arts.

The Normandy Park Yule Craft Bazaar is the brainchild of Annastasia Nichol and Sophy Hildreth. Both girls are seniors in high school, Sophy attends Mt. Rainier High School in Des Moines, and Annastasia attends online classes with Insight Schools of Washington. Annastasia and Sophy are dedicated to arts and their community, so this project seemed like the perfect way for them to not only bring recognition to artists and crafters in the area but to give something meaningful back to their communities. The Normandy Park Arts Comission has provided Annastasia and Sophy an outlet to showcase their art in the Normandy Park Art Fair that is held every summer, and this is a way to say thank you and show that young people are appreciative of the arts.

Seniors in high school are required to do a “Senior Project” that encourages them to step outside of their comfort zone and challenge themselves to do something above and beyond what they do in their day to day lives, as well as enrich the community in which they live. The Yule Craft Bazaar is a way for Annastaisa and Sophy to fufill these requirements as well as have some fun and help artists meet and promote their craft! In addition, Annastasia and Sophy are able to learn how these things operate from a “business end” by dealing with professionals such as Steve Nordby, the landlord who graciously donated the space for them to use at Manhattan Village.

The Bazaar is going to be held at Manhattan Village in one of the vacant spaces, 17849 1st Avenue S, Normandy Park 98148, on December 16 and 17. On the 16th (a Friday night), there will be a small artists’ reception.  A local high school band that will be playing an acoustic set for the enjoyment of the participants!

Arts and crafts of all kinds, as well as cool vintage stuff or books and records would be a great addition to the scene.  Artists from all neighboring communitites are encouraged to join us for this exciting adventure! Please contact yulecraftbazaar@gmail.com to reserve a spot! Spaces are 5 dollars for just a space, or 20 dollars if you need us to provide a table. We will have some light snacks and refreshments for the event for our vendors too, provided by our “neighbor” Dtwenty Games and Café!  Our neighbor is Amber Nichol, advisor to Annastasia and Sophy in this adventure. She can be contacted at amber@dtwentygames.com or amberraven@gmail.com.

by Alan Bryce, Centerstage Artistic Director

The raucous story of Pinocchio, the headstrong puppet who gets into all sorts of mischief on his way to becoming a real boy, is the perfect subject matter for a traditional English Christmas panto.  Most Americans might think a pantomime is a silent art form but — to the contrary — this kind of pantomime is anything but quiet!  Its roots go back as far as commedia dell’arte. With gloriously silly traditions, comic routines as old as the hills, stock characters such as The Dame (a grotesque woman always played by a man), audience participation and popular music of the day… pantomime is a glorious, noisy hybrid. And today, for most Brits, a visit to the local theatre to see the pantomime is as much part of Christmas as turkey is to an American’s Thanksgiving.

At Centerstage, our version of Pinocchio has come about — Blue Fairy, donkey ears, Jiminy Cricket, and all — with the help of my longtime colleague John Forster.

I first met John when I saw his hit revue, Both Barrels, in Los Angeles. At the time I was Director of the Landers Theatre in Springfield, Missouri. I already had the idea of doing pantomime in the USA and commissioned John to write one for the historic Missouri theatre. He came up with a backstage music — the story of an English regional theatre in the 1930s and their annual pantomime. After the success of 5 Christmases, as the show was titled, when I came to Federal Way as Artistic Director of Centerstage, I asked John for a rewrite. He abandoned the story-within–a-story of 5 Christmases, and replaced it with Pinocchio.

This show has all the earmarks of John’s notable and wide-ranging wit.  As a recording artist, John’s 1994 debut album Entering Marion got an Indie Award for Best Comedy Album and is listed by Dr. Demento as one of the 50 greatest novelty songs of all time. Many of his witty topical songs have been featured on NPR’s Morning Edition. Other songs have been recorded by Judy Collins, Rosanne Cash and many others. As a writer and producer of music for children, John has been nominated for five Grammy Awards.

His musicals include the regional theater favorite Eleanor-An American Love Story as well as Into The Light on Broadway. His latest is Mariel, an Afro-Cuban immigration story commissioned by the Cincinnati Playhouse. His scores for young audiences include How To Eat Like A Child, one of the most widely produced children’s shows in the country.

I invite children of all ages to join us at Centerstage for a rollicking good time with Pinocchio this holiday season!

Photos by Michelle Smith Lewis

Ed. note:  Pinocchio runs through December 23 at Centerstage Theatre in Federal Way.   For performance dates and times and special ticket offers visit www.centerstagetheatre.com  

Story and photos by Karen Bouton, SKCGS Saar Cemetery Project Coordinator

In late 2004, the Saar Pioneer  Cemetery was dark, gloomy, and horribly overgrown with blackberries and ivy.  One could barely determine it was a burial place for many of the Kent area pioneers. The South King County Genealogical Society (SKCGS) took on the monumental task of getting it cleaned up, and through countless volunteer labor hours and several generous grants the cemetery is now a well-maintained place of reverence.

Those of us who have spent hours and hours amongst these old headstones have spent plenty of time wondering “who are these folks?”  Thus began the genealogical research into everyone buried here — the results will be published in a book titled A History of Saar Pioneer Cemetery and Its Inhabitants.

One aspect of doing this genealogical research was reading the White River Journal newspaper. While reading for the ‘known’ burials, other names started to emerge, indicating burial in the M.E. Cemetery, Methodist Cemetery, Wilson’s Corner, Springbrook, or the O’Brien Cemetery.  But there were no headstones for all these folks!  Just exactly how many people were buried here and where were they?

Earlier this year, the SKCGS received a Landmark Rehabilitation grant from 4Culture. We used it to hire Robert Schall of GeoRadar Imaging to locate unmarked burial sites.

The weather played a huge part in Robert’s schedule, as the ground had to be dry for three days in a row. Because of our wet spring, we weren’t able to start work until July. The scanning machine would indicate anomalies in the soil indicating where the soil was ‘different’ leading one to assume a burial site. Robert would spray paint the area of each anomaly. When the scanning was completed in September a total of 63 anomalies were discovered.

Besides locating burial areas, Robert discovered this artifact, which was buried only several inches deep. It is iron and looks to be part of fence or decorative post. It was found near the original entrance of the cemetery and near the burial plot of Margaret Saar, the first person to be interred in the cemetery in October of 1873.

SKCGS is planning on erecting an Unmarked Graves Monument engraved with the names of 89 who were interred in the Cemetery without benefit of a marker. (Yes, 89 is more than 63 — guess you will have to read the book!)

by Christine France – Teaching Artist and Dancing Classrooms Program Liaison, Pacific Ballroom Dance

This is the second year Pacific Ballroom Dance has offered Dancing Classrooms to area schools.  What is Dancing Classrooms? It is an inter-curriculum program taught to 10- and 11- year-old 5th grade students in public schools, during the school day, as part of a 10-week, 20-lesson course. The students learn the Merengue, Foxtrot, Rumba, Tango, Swing, and Waltz. Dancing Classrooms also qualifies under the Washington State EALRS for the Arts.

Why Dancing Classrooms? Dancing Classrooms teaches dancing, but more importantly it teaches self worth, confidence, respect for others and themselves, and helps to build social awareness. It has been my experience that Dancing Classrooms literally changes the lives of these 5th Grade students. They go from being boys and girls to young Ladies and Gentlemen. They respect more and fear less. They find that they can do and be so much more than was originally possible. This program helps them to have the confidence to take on difficult challenges, whether it be schoolwork, athletics, or communication and social skills. Their schoolwork improves and they have better test scores. They are taught appropriate touching and treat each other with respect. The program, in a nutshell, WORKS WONDERS!

Last year we reached 450 fifth grade students in five schools in the South Puget Sound area: Ridgewood in the Kent School District, Shorewood and Parkside in the Highline School  District, Sunrise in the Enumclaw School District, and Daffodil Valley in Sumner. This fall, we are teaching in three elementary schools — we’re back at Parkside and Daffodil, and we’re also working with students at Black Diamond Elementary in the Enumclaw School District.

Our goal is to reach many more. We would love to have the opportunity to speak with other schools in South King County about this program and what it can do for your students. Please contact me, Christine France, for more information at 253-224-4551 or visit our website www.pacificballroom.org/dancingclassrooms. You can also watch us on King 5’s “New Day” at www.pacificballroom.org/news.

by Elizabeth P. Stewart, Director, Renton History Museum

The American Association of Museums recently offered a webinar titled “Congress Takes a Hard Look at Charitable Giving: How Will Museums Fare?” This topic should be of particular interest to lovers of arts and heritage in Washington state, because our own Senator Patty Murray is a co-chair of the Joint Select Committee on Deficit Reduction, the committee that will be exploring changes to the charitable tax deduction as part of their package of options to reduce the federal deficit. Their work must be completed by November 23, so there is no better time to make our voices heard on this issue.

The proposals on the table would all limit—in one way or another—the amount taxpayers may deduct for donations to nonprofits. David Thompson of the National Council of Nonprofits laid out the case for preserving the charitable deduction. It represents the only deduction taxpayers make that does not represent a personal gain for themselves. Its sole function is to reward and encourage support for nonprofits, whose work in the areas of education and preservation serves as a back-up for governments hard-pressed to keep up with the needs of citizens in this era of tax resistance and declining revenues.

People give for their own personal reasons, but they give MORE because of the tax deduction, which is the reason nonprofits receive 20% more donations in late December. Finally, studies have shown that for every $1.00 lost in federal tax revenues, local communities gain $3.00 in benefits.

Our elected officials need to know that any reduction in the charitable donation will devastate our museums and arts and heritage organizations by discouraging local giving. On her web site, http://murray.senate.gov/public/index.cfm/deficit-reduction, Sen. Murray has asked for you to weigh in on the process of deficit reduction. Whether you are a board member, staff member, or arts and heritage lover, please take some time to make a strong case to Sen. Murray about the potential effects on your organization. There is no better time to save the federal charitable deduction for our local benefit!

 Burien Little Theatre is producing the world premiere of Roxanne Linnea Ray’s newly conceived version of Mary Shelley’s classic story, Frankenstein, or The Modern Prometheus. One of the central characters in the story is the Creature, the daring creation of young Victor Frankenstein – but modern audiences who are familiar only with the movie version may be startled to realize that Shelley viewed the Creature as the victim, and intended the real monster to be the scientist who created life and then disdained it.

Here are some thoughts from actor Russ Kay and director Steve Cooper as they develop the Creature character for stage.

Russ: My very limited exposure to the Creature has been only through the Hollywood version, the greenish kind of lug with bolts in his neck. I had not read the novel by Mary Shelley and really knew nothing much about the Frankenstein story line.

Steve: I’m concerned with the difference between what everyone “knows” about this character: he is Frankenstein’s “monster,” a dumb, barely aware object that goes about killing because it is provoked and scared, rather than an intelligent sentient being that is forced into revenge and is truly remorseful about this outcome.

Russ: Since I was ignorant about the novel, I believed the Hollywood story, although not much about that film do I recall. Well, was I in for a surprise.

Steve: I just want to put it out there that audiences shouldn’t expect to see the stereotypical “monster.” I had some of the same issues when we did Dracula. In my notes for the program, I told audiences that they wouldn’t see any flying bats, or “I vant to suck your blood” lines. Dracula was a real person. I want to make some distinction between Dracula and the Creature in Frankenstein (since they were released about the same time): Dracula was really an evil character, and that was where the horror lay. In contrast, Frankenstein’s Creature isn’t the villain in this story, even though people are going to expect that.

Russ: I have spent many hours of research since my casting of the Creature. I was fascinated first by early scripts that I read when invited to workshop. The language was intriguing as well as the story. I now know that this stage production follows the novel quite closely. But my research of the Creature did not stop with the reading of the novel. It still continues with the reading of other books that helped shape the Creature into the most fascinating and challenging character I’ve ever played.

Steve: I have the memory (I hope this is right) about one of the last scenes in Mel Brooks’s Young Frankenstein – where the Creature is in bed reading The Wall Street Journal – that actually isn’t very far from the truth of the novel…. On the other hand, our collective image of the “mad scientist” stems from Hollywood’s portayal of Victor.

Russ: I hope the audience can see the Creature as a benevolent, lonely and sometimes violent being. He represents so many emotions in every one of us. You might hate him at times but in the end I hope to represent him as a piece of society that we all have experienced at least once in our life.

Steve: I want to make people aware that this horror story is not centered on some seven-foot “monster” is running loose killing people. The horror is Victor’s (and by extension our) inability to take responsibility for his actions.

Russ: There are many lessons that can be learned in this story and this script not only stretches but pushes me as an actor into many realizations about this world we live in.

For more fascinating production notes on this world premiere, check out Burien Little Theatre’s blog at burienlittletheatre.org/blog/ and click on September 2011 archives — scroll down (way, way down) to find interviews with stage manager Sharon Adler, costume designer Dodi Rose Zooropa, and more.

The Auburn Symphony Orchestra is proud to join with the City of Auburn and the Auburn School District in sponsoring “The Triumph of the American Spirit,” a free commemorative event on September 11 at 2:30 at the Auburn Performing Arts Center.

The involvement of the ASO in the program is significant in that conductor Stewart Kershaw was moved to become a US citizen as a result of the tragic events of 9/11/2001. Stewart was born in England and had lived all over the world. By 9/11 he had been a resident of the United States for 20 years. On that day he experienced the deep raw emotions of the entire world, and as Americans came together as one, Stewart felt a part of our country like he never had before.

This program is one way for Stewart to continue to show his appreciation and pride in his citizenship. The 40 minutes of music, all by American composers, is both an expression of reverence for those who lost their lives and an expression of joy for the resilience of New York City and our country. This will be a beautiful program you won’t want to miss.

by Teresa Luengo-Cid, KCLS Early Literacy Parties Coordinator

Ed. Note:  This is our first bilingual blog!  Read on for Spanish AND English versions!

En el condado de King somos afortunados de que las Bibliotecas del Condado King — KCLS — ofrezcan los talleres gratuitos de Alfabetización Temprana conocidos como “Fiestas.” Desde que los talleres comenzaran ofrecerse en el 2007, más de 3500 padres y personas a cargo de niños en edad preescolar y 4200 niños se han beneficiado del programa.

El objetivo de las Fiestas es enseñar a los asistentes como preparar y ayudar a los niños a que lleguen a la escuela con una buena base y se refuerce la educación bilingüe.

Si bien podemos pensar que el hecho de crecer en un ambiente bilingüe es una ventaja, la realidad es que las familias hispanas con niños en edad preescolar no siempre cuentan con todas las herramientas para hacer que los niños lleguen a estar a la par de sus compañeros al llegar al kíndergarten.

Las Fiestas proveen a las familias con las herramientas. Una está directamente relacionada con el éxito escolar y es la adquisición del hábito de lectura a edad temprana.

Las Fiestas contribuyen a mejorar estos hábitos de lectura entre los niños latinos. En cada Fiesta se ejemplifica y se inculca el amor a la lectura de forma divertida. Además leer, se llevan a cabo actividades como son recrear una obra de teatro inspirada en la lectura, narrar la historia usando títeres, cantar y hacer un proyecto de arte basado en el tema del libro o un juego.

Para reforzar la lectura en el hogar, en cada taller las familias reciben como obsequio uno libro en español para leer con sus niños. Las familias saben apreciar enormemente los libros de regalo en español, difíciles y caros de adquirir los libros en español de en los EEUU.

El currículo de las ocho semanas en las que transcurren los talleres ha ayudado a muchas familias a concienciarse de lo importante que es involucrarse en la educación de nuestros niños desde que nacen. Conversar en nuestra lengua materna cada día, hacer que el niño enriquezca su vocabulario y que adquiera habilidades de pre-lectoescritura es muy importante.

La familia de Roxana ha repetido ya varias series y nos comenta como desde que asistió a las fiestas ha visto cambios muy significativos en la conducta de su hijo. “Ahora él sabe cómo comportarse en grupo y se enfoca mas, le encantan los libros y se sabe las canciones de las fiestas, mi familia habla español mucho más que antes. Siento que todos nos beneficiamos de esta oportunidad y convivimos aquí para reforzar la práctica de nuestra lengua materna en casa, le estoy muy agradecida al programa.”

Se ofrecen las Fiestas este verano en las bibliotecas de Algona-Pacific, Black Diamond, y Federal Way 320th.

And now for the English version…

We are lucky that KCLS (the King County Library System) is offering free Early Literacy workshops, otherwise known as “Fiestas.” Since the workshops first started being offered in 2007, more than 3500 preschool-age parents and caregivers and 4200 children have benefited from the program. The Fiestas goal is to teach attendees about how to prepare young kids for school and how to reinforce bilingual education.

Although you might think that growing up in a bilingual environment is an advantage, the reality is that not all Hispanic families with preschool-age children have the same tools to prepare their kids to be at the same level as their classmates when they reach kindergarten.

The Fiestas workshops provide families with these tools: directly linking school success with the acquisition of reading habits at an early age. The Fiestas contribute to improved reading habits among Latino children. In each Fiesta reading is modeled and the love for reading is transmitted in an entertaining way. Apart from reading, supplementary activities include performing a dramatic play inspired by the act of reading; narrating a story by using puppets; singing and making an art project based on a book’s theme; or playing a game.

To reinforce reading at home, families receive a free book in Spanish to read with their children for each workshop that they attend. Families appreciate the Spanish giveaway books enormously because books in Spanish are difficult and expensive to acquire in the States.

The 8-week curriculum has helped many families to be aware about how important is to be involved in our children’s education from the time they are born. Having conversations in our native language everyday so that the children can increase their vocabulary and gain pre-reading and writing skills is very important.

Roxana’s family has come to many of the workshops. She comments how since she attended “Fiestas” she has seen lots of remarkable changes in her child’s behavior; now he knows how to behave in a group, he focuses more, he loves books and he knows the Fiestas songs. “My family speaks Spanish much more than before. I feel that we all benefit from this opportunity and come here to reinforce the practice of our native language at home, I am very grateful to this program.”

This summer the  Fiestas will be offered at the Algona-Pacific, Black Diamond, and Federal Way 320th Libraries.

by Ronda Billerbeck, City of Kent Cultural Programs Manager

His name was Luka,
He lived on the second floor,
He lived upstairs from her,
Yes, she got his mail all the time . . .

A bit of a deviation from how the song goes, but that’s how the real story went. I know because I heard it straight from Suzanne Vega herself. She told the story of “Luka,” her celebrated and heartbreaking song about child abuse, to a group of high school students in Kent, Washington.

I presented a concert by Suzanne Vega as part of the performing arts series I produce. In addition to her public performance, I arranged for Suzanne to conduct a workshop in a local school. I try to incorporate these types of educational outreach activities with professional touring artists as often as I can. Interacting with an artist in an intimate setting, hearing them discuss their vision and process, offers depth of experience that a traditional concert performance cannot provide. Getting that kind of glimpse into the creative process is unique and powerful.

So, I had the privilege of sitting in the library of Kent-Meridian High School, along with about 40 students and a handful of staff, on a chilly January afternoon while Suzanne Vega spoke openly about her art. Listening to any artist talk about their work is interesting at the very least and more often than not quite compelling. This was not just any artist. Suzanne Vega is widely regarded as one of the most brilliant songwriters of her generation. She is a masterful storyteller who rewrote the book on what female singer-songwriters can say and do, paving the way for artists such as Sarah McLachlan, Tracy Chapman, Shawn Colvin and the entire Lilith Fair revolution.

I grew up listening to Suzanne Vega. I have distinct memories of spending sunny Saturday mornings on my trampoline with Billboard’s “Top 40 Countdown” playing on the radio. I remember practicing back flips to the relentlessly catchy “Tom’s Diner” . . . I am sitting, in the morning, at the diner, on the corner . . . I am waiting, at the counter, for the man, to pour the coffee . . . I rested to “Luka,” knowing it was a serious and sad song, even though my young mind was not entirely able to fathom the tragedy it described.

It was more than a little thrilling for me to watch Suzanne Vega interact with these students – a Grammy Award winner, an iconic voice in American song standing in a humble high school library speaking to the students with an obvious conviction that they each have the potential to achieve as much as she has achieved. She spoke about her creative process and gave them tips on finding and honing their individual artistic voices. She read poetry, told stories and discussed the music business.

She told the story of “Luka” in response to a student’s question about how long it takes her to write a song. She explained that she had been working on the concept for “Luka” in her head for many months before she actually sat down to write the song (that part took about two hours).  She knew she wanted to write a song about child abuse, from the perspective of the abused child. There was a young boy who lived upstairs in her building named Luka Vega. Because they had the same last name, she often received his mail by mistake. She doesn’t think he was actually abused; he just seemed quiet and a little different from the rest of the kids, and she liked the name because it seemed universal.

A highlight of the afternoon was when Suzanne performed a spellbinding, a cappella rendition of “Tom’s Diner,” her voice was barely louder than a whisper and the students leaned in, transfixed. It is important to note that this educational activity was completely optional and students chose to sign up and stay for an hour after school to participate. It was the Friday after semester finals and I was honestly worried no one would show up. Not only did the students show up, they were thoroughly engaged and asked thought provoking questions.

One student who sat in the front row with his guitar was the first to raise his hand and ask a startlingly insightful question. After the session, two separate teachers told me that the young man is typically very quiet and rarely speaks in class. Another student was thrilled to share his original poem with Suzanne. It happened to be his birthday. After she autographed the poem, he walked away, beaming and said, “This is my best birthday ever!” A teacher who participated in the activity said that “Luka” made a profound impact on her as a young person, influencing her to study psychology and spend the first 15 years of her career working with victims of domestic violence. She emphasized to the students that they should never underestimate the power of their voices, and who they might influence and how.

The group was very diverse, including Somalian, African American, Latino, Asian and Caucasian students. Approximately 70% of the student population at Kent-Meridian participates in the free or reduced lunch program, so it is safe to assume that many of the participants were from lower-income families. As we talked after the workshop, Suzanne described herself as a “hot-lunch kid.” She explained that she enjoys reaching out to kids in a similar situation to help them imagine a future full of potential.

These are the times that I truly love my job. Unfortunately, it doesn’t always work out so well. At some point during the process of setting up every educational outreach activity, I end up swearing that I will never attempt to pull off such an activity again. “Why?” you ask; because it is nearly impossible to find someone to host them. “How can that be?” you say, “Who wouldn’t want to bring such a valuable experience to their school?” Good question. I’ve had more than a few opportunities go unused because I couldn’t find anyone to take them. I don’t mean to be too critical of teachers and administrators. I know they have a lot going on. Between classes and administrative demands and trainings and various tests, it’s difficult to make time for extra activities. But it is SO worth it when they do. I’ve seen it time and time again, and when I call and email and knock myself out and get nowhere, I want to yell and scream and shake somebody.

Part of the problem is the lack of a neat and tidy way to get the word out. The Kent School District is big – 40 schools and more than 25,000 students, big. I keep thinking there should be a central person to contact, or maybe even a standard group of people. I’ve tried starting with the district arts coordinator. I’ve tried going to the principals. I’ve tried approaching all the music, art and drama teachers. None of these strategies work as a rule. The only approach I’ve found to be effective is very labor intensive and nerve-wracking – making repeated phone calls and emails to varying people until I happen upon the right one. Sometimes it’s a principal; at other schools it’s a teacher.

Two schools passed on the Suzanne Vega opportunity before I finally connected with an energetic English teacher at Kent-Meridian High School. He got excited. He wasn’t daunted by having to work extra hard. He made a promotional video that he played in the cafeteria during lunch periods. He talked it up and, as a result, nearly 40 kids showed up for an experience they will never forget. He wrote me a thank you note the next week, saying “The world needs more artists who make themselves accessible like Suzanne Vega.” I agree. I also think the world needs more teachers who are willing to go the extra mile to connect artists to students. Additionally, the world needs more artist agents and managers who are willing to change travel schedules at the last minute or do whatever else it takes to make it happen. It required the work of a lot of people to make the Suzanne Vega workshop happen. Some people might look at the effort involved for the number of kids served and question whether it’s worth it, but they would be underestimating the depth of the impact on those 40 kids.

As I made emails and phone calls to set up another school assembly recently, a high school teacher told me he “really didn’t want to give up a day of rehearsal.” I understand the importance of regular rehearsals, I really do. I grew up dancing and playing music and performing in plays. I get it. But there are rehearsals every day. Students aren’t going to go home at night and excitedly tell their parents about rehearsal. They aren’t going to remember the rehearsal they had on Thursday, March 17, 2011 ten or twenty years later. The things they’re going to talk about, and remember, and be inspired by are the Suzanne Vegas, the artists who take the time to share their thoughts, skills and passions. These unique and powerful experiences are the ones that create a spark; the ones that will be remembered.

by Samuel Jones, composer

I am excited that the Northwest Symphony will be playing my Horn Concerto for South King County music lovers soon. Saturday night, April 30, is the date. The concert will be conducted by Anthony Spain, the Northwest Symphony Orchestra’s wonderful conductor, and the soloist will be Jeffrey Fair, who is the Assistant Principal Horn of the Seattle Symphony and a great player.

I wrote this piece four years ago, and it was played by the Seattle Symphony’s principal hornist, John Cerminaro, at that time. Jeffrey Fair was playing in those performances, so he knows the piece from the ground up, so to speak.

The horn, of course, is a notoriously difficult instrument to play, and a composer has to keep very much in mind not to write beyond the limitations imposed by the physics of that long piece of coiled, tubular brass. John helped me with some of my first excessive exuberances. Although his recent CD “Screamers” proves he can play anything, he was nonetheless anxious that I write a work that all professional horn players would find practical, as well as challenging. He tells me that I have succeeded, especially on the challenging part.

Jeff will prove he is up to all the challenges. One of the great pleasures of hearing a concerto is to hear, in fact, how it does challenge the soloist and how he or she can meet those challenges. It’s kind of like a high-wire performer. You’re on the edge of your seat, holding your breath and keeping your fingers crossed for the soloist. No need to worry here—Jeff Fair is a fabulous horn player, and you’ll get to hear some exciting solo horn playing as well as your own impressive orchestra tackle and conquer this piece.

That imagery—“tackling and conquering”—very much fits the last movement of the work. It’s a musical depiction of climbing a great mountain. (You’ll never guess which mountain was in my thoughts!) Here’s how I describe that movement in my program notes to the piece:

“The third movement, which melds rondo form with that of the Baroque binary pattern, portrays the struggle and exhilaration of ascending a large mountain. One senses, amid the fits and starts of the melodic figures, a steadily climbing pitch level. When the climber has reached the summit, a suddenly breathtaking panorama is the result, portrayed by a blazing chorale in first the brass then the full orchestra. The soloist responds with exulting horn calls and listens for—and receives—echoes as they come from neighboring peaks. After the precarious descent, the difficulties of the struggle are assuaged by a reflective passage which quotes the celebrated spiritual, ‘There is a Balm in Gilead.’”

I hope you’ll be interested in attending this concert. I will love sharing this music with you. After all, that’s what it’s all about.

Samuel Jones, longtime Composer in Residence with the Seattle Symphony, is a resident of South King County.  His work has been performed many times by the Northwest Symphony Orchestra, which will be presenting Jones’ Horn Concerto on Saturday, April 30, at the Highline Performing Arts Center, 401 S 152nd Street in Burien.

In 2008, Cass Nevada was given a bundle of maps from WPA project #2541 (1932-40), a massive project which resulted in the first systematic property records of King County. The maps, recorded on linen and cotton sheets, were drawn up by teams of unemployed workers during the Great Depression and beyond. After the maps were transferred to microfiche in the 1970s, they were discarded, and in some cases, retrieved from dumpsters by ceramicists and artists for the quality of the fabric.

Those maps formed the basis of the 10 piece Maps: the Nature of Change project, which will be on display at the Renton Carco Theatre from April 4 through May 13.

Nevada uses natural and local plant pigments to create a narrative of sorts that complements the WPA project. The narrative involves change over time, disruption, continuity, and a meditation on how we as humans organize and conceptualize space. The many birds depicted in the pieces suggest a perspective that is curious, detached, aware.

Nevada is an artist and writer who channels her passion for nature through the use of natural plant pigments, found objects, recycled materials. The themes of change, history, dis/illusion, and humor figure prominently in her work. She shows in multiple venues in the Seattle area, facilitates mixed media workshops, and is part of Shift Studio Gallery in Pioneer Square.

The Renton Municipal Arts Commission will host an artist reception for Nevada on Saturday, April 23, from 5-7 PM.  The Renton Carco Theatre Gallery is located at 1717 Maple Valley Highway in Renton.

For more information on the artist, visit www.cassnevada.com.

One of the benefits for member organizations of SoCo Culture is access to two hours of complimentary professional coaching for your board of directors and leadership teams. Marcia Holland, CAE, CEO, of Outcomes Unlimited LLC, and board member of SoCo Culture, offers two hours of free coaching time for either your board and/or your volunteer members. She will customize a presentation to meet the needs of your volunteer leaders.

She has already provided professional services to: Burien ARTalks, Evergreen City Ballet, Kent Historical Society, Pacific Ballroom Dance, Renton Municipal Arts Commission.  You can talk with their leadership to find out the benefits of using her services with your organization.

The effectiveness of her presentations is summarized in this comment from Gina Kallman, Cultural Arts Supervisor for the City of Burien: “Marcia Holland focuses on general board conduct and best practices, effective leadership team qualities (accountable, responsible behaviors of leaders), creating a culture of peak performance (completing volunteer activities once a commitment is made to do so is not voluntary), how to recruit and retain volunteers, and the necessity of a streamlined strategic plan. I have seen Marcia speak at SoCoCulture and she is a wonderful and very knowledgeable speaker with an incredible background.”

Early Redondo shoreline – photo courtesy of Historical Society of Federal Way

The beautiful Puget Sound area now known as Redondo was well known long before settlers arrived in the mid-1800’s. Native Americans passed through periodically, collecting berries, fishing and digging for clams. Capt. George Vancouver sailed near the area in 1792.

But it wasn’t until Sam Stone homesteaded in about 1871 that the area acquired its first name, Stone’s Landing. The Stone family, along with others who arrived, was primarily interested in logging. Five hundred year old trees were abundant, and waterways for transporting logs were near. Loggers set up a small sawmill near the beach and then floated the timber to a log boom during high tide. The logs were towed to larger mills in either Seattle or Tacoma.

By the late 1800’s, steamships were chugging through Puget Sound between Seattle and Tacoma, transporting supplies, equipment, and visitors. People soon recognized that Stone’s Landing and its public beach combined to be a wonderful recreation area.

Progress was on its way. In 1904, Charles Betts opened the first store, which had a shop downstairs and rooms for rent upstairs. The community’s name was changed to Redondo in 1906 following a tragic accident that killed 13 people. About 2,000 people were in town when the pier collapsed as many of them waited for a steamship. Betts selected the name Redondo because he envisioned a recreation area like Redondo Beach, California.

By 1911, Redondo, Redondo’s population had reached 200 persons. There were two restaurants, two churches, and a number of businesses. A seawall and road had been constructed to make way for visitors and model Ts. A new dock had been built, and homes were beginning to appear on the shore.

Bett’s plans to turn Redondo into an entertainment/resort town were materializing. He brought in a Ferris wheel, carousel and miniature train. About 1922, he and his son Weston built an Amusedrome that included bowling and dancing. Later it was converted into a recreation center and roller-skating rink before burning to the ground in 1951.

As the entertainment business slipped away, Redondo changed. There is little left to remind one of its vivid past. Condos have replaced old businesses, modern homes dot the shore, and rush-hour traffic continues nonstop. But people still head to the beach. It is a beautiful place to visit.

Excerpted from the book “Images of America Federal Way,” courtesy of the Historical Society of Federal Way. The Society will be hosting a program on Redondo on February 26.  See the SoCoCulture calendar for details.

by Britt McKenzie, Renton Municipal Arts Commission

Last year, during the Renton Municipal Arts Commission’s excursion to Arts Day in Olympia to lobby for arts and cultural programs, we had the chance to meet with Representative Zack Hudgins, who represents the 11th District, encompassing Tukwila, southern Renton, and south Seattle.

The commissioners were pleased to discover an art exhibit on display in his offices! Rep. Hudgins has been exhibiting art from different areas of his district for the last few years: in 2010, it was a collection from Tukwila; 2009 was represented by Georgetown White Center.

Our chair, Pat Pepper, invited Rep. Hudgins to attend one of our RMAC meetings, and in April 2010, we had the honor of hosting him. Rep. Hudgins discussed with us the challenges of securing funding for the arts in our difficult economy, despite the various benefits the arts provide his constituents. He encouraged us to continue lobbying our state legislators about the importance of the arts, since art advocates are in the best position to know the facts about how the creative industries facilitate economic, community, and cultural growth. Also, he extended an invitation to provide the 2011 exhibit in his office, and as the Carco Theatre exhibit manager here in Renton, I was chosen to curate the show.

I selected the work of five Renton artists, and on December 17th, I was joined by two of them when I went down to Olympia to install the work. I thought it was important to show a variety of artistic mediums and styles, and I think we did a pretty good job: Helga Jacques‘ impressionist acrylic and watercolor scenes of old (but hopefully not forgotten) Renton landmarks; Dennis Harrison’s amazing marquetry vignettes and landscapes; Wil Kerner’s colorful cut-out paper collages of friends and animals; Jennifer Brooks’ graphite drawings of quiet and melancholy landscapes, and RMAC commissioner Doug Kyes’ fantastic ceramic painting of abstract seascapes.

The exhibit is on display until the end of the Legislative session in April. Please stop by on Arts Day and tell Rep. Hudgins you appreciate his dedication to the arts in his district. You may also make an appointment to view the exhibit by calling 360.786.7956.