Double Weekly Feed: Wild Girls, Our Town, Native Ground, Westbrook Artists, and more

 International Sonoran Desert Alliance, recipient of a NEA Our Town grant

By Rachel Beth Rudi, Digital Contributor

• Congratulations to our colleague Mary Stewart Atwell, whose debut novel Wild Girls was recently published by Scribner. "Fire-lit from start to finish, Wild Girls is a story of Appalachian magic, conflagration, and supernatural violence," writes Swamplandia! author Karen Russell. Around Art of the Rural, we call it The Appalachian Anti-Twilight. Check out the book trailer below, directed by Charlie Cline:


Wild Girls by Mary Stewart Atwell Book Trailer from Charlie Cline on Vimeo.

• GALA Hispanic Theatre is bringing a reality of rural Southwestern culture to audiences in Washington, D.C. via the Mexican dance company Teatro Linea de Sombra and their newest multimedia program. Celia Wren offers this introduction in The Washington Post: "a theatrical meditation on the harsh realities that face undocumented migrants and their families, “Amarillo” also features projections, throat singing, a surveillance camera, 100 water bottles, a 15-foot-high wall that actors climb and bounce off – and a poem by Harold Pinter." 

This event was made possible, as Wren writes, thanks to "Southern Exposure: Performing Arts of Latin America, a program of the Mid Atlantic Arts Foundation in partnership with the National Endowment for the Arts and the Robert Sterling Clark Foundation, supports U.S. arts presenters that band together to bring Latin American performers to this country."

 

• National Endowment for the Arts Our Town grants fund creative placemaking projects that enliven communities through vibrant and sustainable art. Information is available online, and two webinars are scheduled to aid in the application process. 

November 6: 
http://artsgov.adobeconnect.com/our-town-guidelines-nov6/ 

November 13:  
http://artsgov.adobeconnect.com/our-town-guidelines-nov13/

Rural projects have been prominently featured in this program in the past, so folks should consider applying. We will be featuring much more information on the Our Town program in the weesks to come.

• The folks at Dust-to-Digital are directing a new non-profit, Music Memory, which will feature an expansive digital database that "will serve as a musical Rosetta Stone for future generations by showing the links and cross-influences of the many musical styles captured on phonograph records in the first half of the 20th century."

• "I'm not nothin' new 'cause I'm black. Bill Pickett was black. He was one of the greatest rodeo acts of all time. A black man, DeFord Bailey, was the first country-music superstar ever. I'm just doing what the greats have already done before me."

Wild Bill Young infuses his country singing, and his strutting, with elements of hip-hop and rap, a mixture of the musics and lifestyles of his Missouri childhood, and has found he is able to defy racist stereotypes and expand cultural understanding among the audiences he performs for across the country. Calvin Cox offers a profile in The Riverfront Times.

• On Native Ground "captures a demographic of youth through elders, and reaches past all cultural and ethnic barriers, by highlighting positive role models and current and historical events that are uniquely Native American." 

Here's the premiere episode, first broadcast on First Nations Experience on October 24:


On Native Ground vol 1 from jack kohler on Vimeo.
 

• Don't Forget This Song, the Carter Family comic book, is out now – complete with a CD of eleven rare radio recordings. Says American Songwriter Magazine: "Affectionate and admiring, The Carter Family: Don’t Forget This Song captures the family’s rise to success through numerous struggles as well as the enduring power of music and love." 

 selection from Don't Forget This Song

• Check out this great write-up on Brian Frink and Rural America Contemporary Art in The Free Press of Mankato, Minnesota. We encourage folks to check out the amazing range of work presented on the gorgeous new RACA site -- and stay tuned, RACA is about to debut its online magazine!

• Located in Madison County, Iowa, The Westbrook Artists' Site operates as "a project for exploration of the post-industrial rural condition." We are excited about their mission statement: 

The Westbrook Artists’ Site (WAS) explores the continuity between rural and urban contexts. If the rural is typically viewed as what was left behind in the process of urbanization, WAS insists, to the contrary, that rural life and landscape need to be seen as vital parts of a system that is urban and rural. WAS cultivates art and design as purposeful interventions within such an interconnected system. The WAS project mission challenges participants to find and explore the connective tissue binding rural and urban worlds and to create modes of address that speak from a rural landscape to both rural and urban audiences. 

• "Big Tex – his mouth moved as he uttered ‘Howdy, folks!’ – was celebrating its, or his, 60th birthday. But on Friday, Big Tex caught fire and was all but destroyed in the flames and thick smoke. His fiberglass head, hat and boots were consumed, as were most of his fabric clothes, leaving only his outstretched arms, belt buckle and metal skeleton intact." Folks can read Manny Fernandez's piece New York Times story here.

Left, LM Otero, Associated Press; right, John McKibben, Associated Press

Weekly Feed: Collaboration, Ecology, Digital Media and Food for Thought

Photograph of the Fennimore Art Museum

By Rachel Beth Rudi, Digital Contributor

• "Rural art museums face distinct challenges when it comes to building audiences for exhibitions and programs," writes Paul D’Ambrosio, president of the New York State Historical Association. “Unlike our counterparts located in urban areas or population centers, rural art museums must compel their audience to travel a good distance to partake of their offerings, and they must tailor their exhibitions and programs to the particular patterns favored by those travelers. At the same time, they must do so while building a donor and sponsorship base that is likewise not local or at least only seasonal.” The Fenimore Art Museum of rural Cooperstown, NY, found a solution through regional collaboration and interdisciplinary thinking. 

Photograph from the Aldo Leopold Foundation Archives

• “Rising before daylight and perched on a bench at his Sauk County shack in Depression-era Wisconsin, [Aldo] Leopold routinely took notes on the dawn chorus of birds. Beginning with the first pre-dawn calls of the indigo bunting or robin, Leopold would jot down in tidy script the bird songs he heard, when he heard them, and details such as the light level when they first sang. He also mapped the territories of the birds near his shack, so he knew where the songs originated.” 

Using these astounding records, two University of Wisconsin-Madison researchers have managed to recreate the sounds that surrounded Leopold seventy years ago, compiling the various calls and sounds described and compressing them into one five-minute audio track. Listen here.

Folks may also be interested in perusing this 2011 program anchored at Arizona State University: Rethinking the Land Ethic: Sustainability and the Humanities. 


The Migrating Mural by Jane Kim from Jane Kim on Vimeo.

Artist and science illustrator Jane Kim is on a mission to educate travelers and everyday commuters about the wildlife around them. Following the routes of America’s endangered migratory animals, Kim pulls off the highway to transform the sides of old barns and houses into murals of the animals who seasonally pass by. View Kim’s Kickstarter video here.

New York Times; Kiersten Essenpreis

• "We’re Here, We’re Queer, Y’all" is a must-read New York Times editorial addressing regional stereotypes. Professor Karen Cox also edits the Pop South site and tweets at @SassyProf.

• Standing Bear’s Footsteps crafts workshops and classes for the youth of the Ponca Tribe in Nebraska and Oklahoma. Available on the project’s website is a collection of brief interviews conducted and filmed by Southern Ponca students in a digital media course. In this clip, "Mikhael Laravie, a 7th grade participant in Standing Bear's Footsteps Youth Media Camp, interviews his grandmother Lola Laravie asking about her childhood growing up on a farm in Nebraska."

AWOL: Bringing New Stories To the Screen

 Photograph by Irit Reinheimer

AWOL is a love story. It is a rural love story, and a lesbian love story, and a story about the choices that young people in this country have - and don't have. 

These lines accompany the Kickstarter campaign for an exciting new project: AWOL, a critically-acclaimed short film that recently took home honors at the Sundance Film Festival and elsewhere. Director Deb Shoval, alongside an accomplished team of producers and writers, is looking to expand this story into a feature length film. 

As this selection from the film's introduction demonstrates, we encounter in AWOL a story, and a series of concerns, too often left off the screen. Please find the Kickstarter video below as well, with much more information on this film's accolades and its mission:

Joey, 19, is a recent high school graduate who is slowly working her way toward nothing in rural Northeast Pennsylvania. Physically strong and honest, Joey lives up to the low expectations of others until she meets Rayna, 28, a sexy, married mother of two who is vivacious, bold - and lonely. Despite the realities of her Appalachian poverty, Rayna exudes a joie de vivre that is addictive. Rayna seduces Joey, and Joey is smitten.

But when Joey’s mother announces that it is time for Joey to move out, and Rayna makes it clear that their trysts will never become anything more, Joey must make some choices about her future in a post-industrial area with little to offer. With Rayna’s encouragement and without any other viable options for housing or employment, Joey joins the Army.

As summer becomes fall and fall becomes winter, Joey and Rayna exchange letters and fuel their passion. At Christmastime, just before her deployment to Afghanistan, Joey returns home with her first assignment: ten days of “hometown recruitment” in the local mall. Preoccupied by her infatuation with Rayna, Joey concocts bigger plans to run away from her home, her family, and the Army with Rayna and Rayna’s kids.

Weekly Feed: Skip James at 110, Art of Regional Change, Choctaw Code Talkers, Appalachian Steel Drum, and the town of Hannibal, Missouri

Here are stories we shared this week on our Arts and Culture Feed:

• Skip James would have turned 110 this week. To celebrate, the Alan Lomax Archive's Facebook page shared a series of live performances and rare photos, including this clip from the 1966 Newport Folk Festival. Listen to, and view, a wealth of material by Mr. James and thousands of other musicians at the digital archives of the Association For Cultural Equity.

• The Humanities Institute at UC-Davis this week published a feature on the work of The Art of Regional Change, an interdisciplinary project that, as they describe themselves, "brings together scholars, students, artists, and community groups to collaborate on media arts projects that strengthen communities, generate engaged scholarship and inform regional decision-making." We've written before about the work of ARC -- but this feature discusses their more recent Restore/Restory project based in rural Yolo County. Here is an excerpt:

This diverse array of people is co-creating a site-based audio tour and a series of media pieces curated on an interactive public history website. Thanks to a grant from the UC Humanities Research Network (UCHRI), this work will be showcased in a series of “twenty-first century Chautauquas” hosted this fall. jesikah maria ross borrows the term from the rural popular education movement of the late 1800s that centered on discussion of art, culture, and contemporary issues. ross believes that Restore/Restory invites the public to think about “big humanities questions around culture, justice, truth, diverse perspectives, beauty. It’s allowing us to take these questions and anchor t hem physically to a piece of land, and…have people dialogue about it.”

Two of these Chautauquas will take place in late October on site at the Cache Creek Nature Preserve. These events will debut the website and audio tours and will bring the public in direct contact with the storytellers on the land. For example, nature and culture walks will lead guests through the preserve as they hear the history of specific sites from different perspectives. A tour of the gravel bars might pair a geologist and a lifelong miner to share their differing expertise on the gravel in the creek. Another group may hear a tribal member talking about the tending and gathering gardens inside the preserve alongside an ecologist talking about the ecological habitat.

•  Native American Public Telecommunications shared word this week of the broadcast of Choctaw Code Talkers:

In 1918, not yet citizens of the U.S., Choctaw members of the U.S. American Expeditionary Forces were asked to use their native language as a powerful tool against the German Forces in World War I, setting a precedent for code talking as an effective military weapon and establishing them as America's original Code Talkers.

For further information, folks can visit the Choctaw Code Talkers Association, which hosts a wealth of information; please find the trailer for the documentary below:



• The Washington Post put together a glimpse into how the arts -- as practiced by local residents and formerly urban newcomers -- is transforming the town of Hannibal, Missouri. Of course, Hannibal is the hometown of Mark Twain, so there is a rich legacy of the arts in the region, but this influx of creative activity has also helped to bolster the local economy. Here's a selection from the article:

Twain still is the main attraction for the half-million tourists who visit Hannibal each year, but now they get a bonus: A growing number of artists, many of national and international repute.

“The downtown storefronts are filling up with artists,” said Gail Bryant, director of the Hannibal Convention and Visitors Bureau. “That’s certainly part of the draw.”

During the past decade dozens of artists ranging from painters to potters, weavers to photographers have come to Hannibal, attracted to the breathtaking river scenery, the charming — if often dilapidated — old homes, a welcoming community and a ready-made base of visitors. It also helps that Hannibal, smack-dab in the middle of the nation, is within a day’s drive of countless art shows and fairs crucial for making ends meet.

Lisa Higgins, of The Missouri Folk Arts Program, expanded on this piece through her comments in the Feed:

It's a culturally rich town. We just did a community scholars workshop with field trips there, especially within the African American community. There's more to Hannibal than Mark Twain, and then, there's Mark Twain. The Hannibal Arts Council is also a dynamic and thriving org.

 • In "Freedom Gardens, The Seeds of Survival," Michael Tortorello of The New York Times produced an excellent feature on the history of the heirloom seeds and Juneteenth gardens within the southern African-American community. Agriculture holds a rich, though complicated place in this contemporary dialogue:

The broader truth is that gardening is a lost tradition in many African-American communities. The National Gardening Association doesn’t tally the number of black gardeners — nor, it would seem, does anyone else. The government survey that tracks farming demographics, the Census of Agriculture, offers mostly discouraging data about black farmers. In the last survey, African-American operators controlled only 33,000 of the nation’s 2.25 million farms — less than 1.5 percent.

An outstanding slideshow also accompanies this piece.  

• Lastly, The Smithsonian Folklife Festival shares news today of a musical conversation between Appalachia and Trinidad:

Ellie Mannette, considered the “Father of Modern Steel Drums,” has brought West Virginia University into the steel drumming tradition. In 1991 he was offered a guest semester staff position at West Virginia University, which turned into a permanent job within the music department. Here, Mannette continues to pass along his love for pan building and playing to interested students.

Originally from Trinidad, Mannette was born in 1927 and started playing steel drums in 1937 when he was eleven years old. The first band with which he played was called New Town Cavalry Tamboo Bamboo. He went on to perform with a number of other bands until he joined TASPO, or the Trinidad All Steel Percussion Orchestra, in 1951. After migrating to the U.S., he helped the U.S. Navy Band and then started an inner city children’s music program with a focus on steel drumming in 1967.

There is much more to explore on the groundbreaking work of Ellie Mannette online. Below we'll share a recent short-from documentary on Mr. Mannette's life and music:

Honey and Sustainability in Rural Nepal

Here is a new dispatch considering rural - international connections, where sustainability and food security meet, raising the quality of life and illustrating to rural youth how prosperity could be under their noses, or in the hive:

Plan International reports today on news of their work in Nepal:

Until recently, Shover Singh Praja often went to bed without dinner and had to work on an empty stomach, barely able to feed his family. Born to a poor family in Makwanpur district, central Nepal, Shover now earns way above the national average and has become a role model among his fellow Chepang, an indigenous ethnic group who depend on wild yams. The secret of Shover’s success? Bees.

For the last 2 years, Shover has looked after 55 hives and last year he netted US$1,000 selling honey, as well as hives to other keen beekeepers. Right away, the money was put to good use.

"I didn't get the opportunity to get an education when I was a child, but I send all my children to school now," he said.

Folks can continue reading here, as the article elaborates on how rural youth have found a path to success doesn't necessarily have to lead out of their home region:

Ramesh Praja, 28, cancelled his plans to go overseas.

“At home, living with my family, I can earn around US$120-300 during the honey production season and US$60-180 in the off season. When I realised this, I wondered why I should go abroad to earn a wage no more than the amount of money I can earn in my very own community," he said.

Photographing Rural Maine, Beyond The Vacationland

Gregory Gives his Cousin Lori a Rose, 1983; Steven Rubin

This month TIME Magazine's Lightbox photography section highlights the work of Steven Rubin and his 30 year project in Somerset County, Maine -- the fruits of which are currently on view at the drkrm gallery in Los Angeles. 

Tara Godvin, writing in Lightbox, outlines the dimesions of this extended meditation on place and culture which began with a hitchiking ride to rural Maine in 1982: 

A graduate from Reed College with a degree in sociology, Rubin had originally come out to the East Coast from Oregon to enroll at the then Maine Photographic Workshops (now the Maine Media Workshops) in Rockport. After documenting the effects of the early 1980s recession on families nearby, he wanted to see how the economic downturn was being handled by locals far from the highways, historic lighthouses and second homes of the Maine coast. On a tip from a friend, Rubin headed inland and settled upon an abandoned shack as his home base and a schedule of hitching four to eight hours between the countryside to take pictures and Rockport to develop them.

Taking prints back to his subjects as a thank-you for their time and trust, Rubin was eventually let into the lives of local families—as well as some of their homes to crash on floors and couches—as he continued his work throughout Central Maine.

What he has witnessed is a part of the country largely unbuffeted by the usual economic ups and downs seen elsewhere. For many in the area times are always tough. According to the U.S. Bureau of Economic Analysis, per capita income has been increasing in Somerset County but has ranked at or near the bottom among Maine’s 16 counties throughout the many years of Rubin’s project. Residents get by through resourcefully cobbling together seasonal and part-time jobs, hunting, fix-it know-how and the support of their communities.

“When I met some of these families, I was completely in awe of them in many ways,” said Rubin, now an assistant professor of art in the Photography Program at Penn State University. “I think as an outsider and someone who didn’t have the background that they did, I was really quite taken by how they survived, by their strength, by their resourcefulness.”

Please find Tara Godvin's full article, with a generous slideshow of Steven Rubin's work, at TIME Lightbox. Many thanks to Alyce Ornella of the Spindleworks Art Center in Brunswick, Maine for leading us to this work

Rural Arts From The Rustbelt To The Artist Belt

Later this week, The Art of the Rural will take part in the fourth Rustbelt to Artist Belt conference, which is meeting this year in Saint Louis, Missouri -- which is also home to Washington University, the headquarters of AOTR.

We're pleased to welcome a phenomenal panel of artists, writers and cultural workers for the Re-Thinking The Rural Arts discussion at the Rustbelt to Artist Belt conference: Mary Stewart Atwell, writer, critic, and author of the novel Wild Girls (Scribner, 2013); Brian Frink, artist, professor, and founder of the Rural America Contemporary Art Institute; Rachel Reynolds Luster, folkorist, AOTR Contributing Editor, and founder of HomeCorps; and Richard Saxton, artist, professor, and founder of the M12 interdisciplinary art collective. AOTR Editor Matthew Fluharty will moderate the discussion.

In light of conference preparations and events, new articles will appear again on The Art of the Rural next week -- though we will be updating the Arts and Culture Feed during this time.

Please find the introduction to the Re-Thinking The Rural Arts panel discussion below: 

Rural America is undergoing a period of dramatic cultural and demographic change. Its people are poised to take agency over their own narrative, as new media is allowing for the open and decentralized sharing of stories – from next door to across the continent. In concert with this, interest in sustainable and local food systems has leant a visibility, and a cultural and economic force, to a rural landscape often relegated to distorting pastoral clichés.

These dynamic possibilities offer a moving and multi-layered metaphor for the kinds of work to be created in rural America, as artists and community members are working across disciplines to re-think and re-imagine rural America – and to make connections to their partners in urban and international locales.

This panel presents the work of four artists and community leaders who are offering a new vision for the role of the arts in rural America. By connecting across disciplines and across geographic regions, these practitioners are examples of how serious aesthetic work can also function as an engine for social change and community development.

Where The Mountains And The Movies Meet

By Rachel Reynolds Luster, Contributing Editor

Batesville, Arkansas sits nestled in the Ozark foothills. The town is small with a population hovering between nine and ten thousand and is primarily known as the home of NASCAR driver, Mark Martin, and the nearly-famous alternative metal band Mutha’s Day Out. However, the town also hosts what Arkansas Times editor Lindsey Millar suggests “may very well be the best small festival in the country.”

With the slogan Where the Mountains and the Movies Meet, Ozark Foothills FilmFest offers five full days and nights of public screenings as well as workshops and forums on all aspects of the art form. Filmmakers and actors are often in attendance, and audience members are treated to lively question and answer sessions following each viewing. While festival organizers have used the event to encourage and promote a home-grown film industry, the festival is a bonafide international event with filmmakers coming from as far away as India. The festival hosts many films and filmmakers showcased at more recognized film festivals such as Cannes and at SXSW.

The Ozark Foothills FilmFest was the brainchild of husband and wife team Bob and Judy Pest. Bob had been working for AETN, Arkansas’s public television network, and the couple also worked with Arkansas’s other world-class film event: the Hot Springs Documentary Film Festival. They formed a local non-profit in 2001 and went to work, against all odds, as Bob Pest explained to me, to encourage and “grow their own” film community in the state. The pair partnered with the local colleges as well as other community partners including local banks to “float” the festival in those first years with a mission of supporting emerging young filmmakers in Arkansas and the surrounding area -- and creating a world-class event in the state.

The restored Landers Theater in Batesville, one of four Filmfest locations in town

In 2007, the festival received a crucial boost when it became one of the supported models for expansion for a creative economy study funded by the Arkansas Arts Council and the Winthrop Rockefeller Foundation. The program offered additional funds to bring in consultants, including filmmakers and organizers from Appalshop, and to develop T-Tauri: a two-week camp for aspiring filmmakers, actors, editors, and screenwriters between the ages of 7 and 18. The organization also created a year-long presence for T-Tauri through the T-Tauri Galaxy, an online collaborative site where students can post their work and contribute to the work of their colleagues as well as a bank of public domain material that anyone can access through the online galaxy space. T-Tauri loosely translates as “new star.”

There’s a large contingent of young filmmakers present at the festival as well, a scene that’s been nurtured by both Bob and Judy. Not only has the festival supported young filmmakers by featuring their work, but it also offers funding to support their projects --  a unique opportunity for emerging artists,  especially those from rural places. In addition, there are sessions which deal directly with the challenges of making films in Arkansas, Texas, or Louisiana, for instance, rather than Los Angeles. There’s a young and devoted class of filmmakers dedicated to making the movies they want to make where they want to make them, knowing that this often means little distribution or support from investors.

Jonathan Hicks, Robyn Rebecca Lynn, Mandy Maxwell and Juli Jackson outside the Festival

The Ozark Foothills FilmFest offers two screenwriting awards for best short and feature length screenplay, and they offer three $30,000 production grants for films that are required to use at least 75% Arkansas cast and crew. This year's works in progress were all screened at the festival. Follow-up articles will highlight two of them: Witch Hazel Advent by Sarah K. Moore and 45 RPM by Juli Jackson, who not only was production grant recipient also has been an enthusiastic volunteer for the festival for the last few years. The FilmFest also partners with local arts agencies to support a competition for emerging visual artists to create the festival’s yearly poster design and exhibit their work in a local gallery during the festival. This year’s poster competition winner was Mandy Maxwell.

Bob and Judy Pest have proven masterful at not only having the vision to create such an event in a rural Arkansas town, but also at building the community partnerships that are necessary to maintain and expand the project. Despite hundreds of thousands of dollars of foundation funding, the FilmFest is still headquartered out of the couple's home; they have chosen to thrust the funding support back into the festival, their youth engagement programs, and the community. The Ozark Foothills FilmFest has encouraged a coalition of local cultural non-profits, and worked with their local Main Street program and regional tourist council, to demonstrate how film can serve as a significant tool for cultural (and economic) development in Batesville, the state, and the region.

Is Your Child A Farmer? Know The Warning Signs.

Image from the Face Your Farmer Facebook page

This image from Face Your Farmer caught my attention yesterday. It seems that many rural groups and the artists associated with them have been less willing to use détournement, or its many web-based versions, in visual media campaigns. The term, "a negation of the value of the previous organization of expression," originated with with the Situationists and their leader Guy Debord in post-war France, though their techniques have become widespread -- now incorporated into political campaigns and advertising (the very things the Situationists critiqued) as well as thousands of internet memes. Indeed, the image above mirrors the framework from this arts ad campaign created by Team Detroit.

The Face Your Farmer project, and their Facebook community, have been generating an avalanche of such images - some of which are irreverent, as above, but others that are more pointed.

In conjunction with a number of media partners, Face Your Farmer follows "the journey of an organic farmer and a farm-shy tech enthusiast across 5 Canadian provinces and countless rural and urban communities." These two individuals, as the image above would suggest, present these  concerns in an approachable and, at times, lighthearted manner. Here's further information on their project:

‘Face Your Farmer’ connects people in cities to those in rural areas who are our Farmers. We strive to build communities without borders and remove the veil of mystery that separates people from farms.

In this age we face seemingly insurmountable problems with food security, food freedom and awareness around how food gets from farm to table. With a dwindling oil supply, local economies are becoming a necessity. We explore this new economic reality.

The Affrilachian Artist Project

Remembering China Sparrow; Lynn Marshall-Linnemeier

We would like to start off this week with news of a effort that seeks to expand both cultural and artistic awareness: The Affrilachian Artist Project.  In addition to their mission, this project is also in the final stages of a Kickstarter campaign to raise funds to begin to film and document the work of some of the group's senior members. 

The Affrilachian Artist Project is seeking to establish "a sustainable community-building platform for artists of color from and inspired by the Appalachian region." As director Marie T. Cochran notes in the group's introduction, the term "Affrilachia" came about originally through the work of Frank X Walker, Nikky Finney and the vibrant Affrilachian Poets group that emerged in the early 1990's. Cochran originally presented work from the visual artists at the Affrilichian Poets' 20th anniversary celebration last year; during her time at that symposium, however, she realized that part of the larger narrative was missing:

Through an array of fragments, a pattern revealed itself. The Affrilachian Poets were the WORD, the Carolina Chocolate Drops were the SONG; yet sustained attention has not been given to the visual artists who create the OBJECTS and IMAGES of the people and the places evoked by similar life experiences. A third harvest should flourish in this fertile soil.

This harvest has already begun, first with an exhibit at the August Wilson Center for African American Culture entitled Affrilachia! Where I'm From, and, building upon that popular and critical interest, with an effort to begin filming, documenting, and sharing this work. These artists range in style from the environmentally-minded installations of DeWayne Barton to the mixed-media storytelling of Lynn Marshall-Linnemeier, from the socially-conscious assemblages of Kyle and Kelly Phelps to the dance between abstraction and representation in the paintings of Valeria Watson-Doost. There's much more work to explore on the project's artists page.

As Cochran mentions in on the project's Kickstarter page, The Affrilachian Artist Project adds to "recent efforts celebrating the history of Appalachia [that] reveal the fact that the region’s inhabitants are as diverse as its terrain." Organizations such as Appalshop and The Hillville have expanded our understanding of this landscape; below, Cochran offers the four misconceptions about Appalachia illuminated in Jeff Biggers' book The United States of Appalachia:

Biggers identifies four paradoxical images that have persisted about the region. The pristine Appalachia, though it is touted a vacationer’s playground according to slick promotional brochures, it is a battleground of fierce clashes between environmentalists and commercial interests over timber, coal and a number of natural resources; Anglo-Saxon Appalachia, once defined by Merriam-Webster’s Collegiate Dictionary as mountain region of “white natives,” despite its role as a crossroads of indigenous cultures as well as vast immigrant and African American migrations for centuries; backwater Appalachia, a “strange land of peculiar people” caricatured in thousands of popular culture formats from comic books to feature films, though the region has produced some of the most important thinkers and creators in the nation (including African Americans like Carter G. Woodson who established the first official celebration of Black History, Booker T. Washington, Bessie Smith, Nina Simone, Bill Withers, Nikki Giovanni and Henry Louis Gates to name a few) and pitiful Appalachia, the poster region of rural poverty, regardless of the tremendous revenue generated by its mineral resources, timber and labor force in the mines, mills and factories, and today’s tourist industry.

The Affrilachian Artist Project promises to help replace these "paradoxical images" with paintings, collages, and sculptures that speak from authentic experience and artistic practice. Please find the video for the project's Kickstarter campaign, which enters its final week today:

David Lee, Carolina Soul & The Paradise of Bachelors Record Label

David Lee with the Washington Sound record shop sign, in front of his storage trailer;  

Paradise of Bachelors

[Editor's Note: As I am facing numerous writing deadlines, this seems like a good time to give a retrospective glance to the first two years of Art of the Rural. Over these weeks I will feature a few new articles, but also many favorites from the archives. Thanks again to everyone who has read and contributed; what began as a labor of love has become a project far larger, and far more rewarding, than I ever could have anticipated - and I deeply appreciate the readership and participation of such a diverse audience. Starting March 19th, we will offer new articles and share some new projects related to our mission.

David Lee's Carolina Soul was originally published on August 2, 2011.]

********** 

Long-time readers might remember our piece from last year on the Carolina Soul site and the Paradise of Bachelors record label. POB's first release, Said I Had A Vision: Songs & Labels of David Lee 1960 - 1988 was one of our absolute favorite records from 2010--and the release has continued to get some wonderful press, so I'd like to start off the week by sharing some of this information. If we've hit the summer doldrums (August), this record is the best antidote I can imagine. Paradise of Bachelors is now offering a limited edition LP repressing; folks can find the digital download at iTunes or Amazon Music. 

Here's "You've Been Gone Too Long" by Ann Sexton. As the liner notes explain, "the tune must make any list of curious, 'Jody' genre songs, for its reference to the archetypal male opportunist who, according to Vietnam-era folklore, would latch onto women whose husbands or boyfriends were serving overseas." 



While we are currently in a golden age of reissues and unearthed music, with more and more coming out each week, what sets Said I Had a Vision apart is its combination of context (rural North Carolina, from the civil rights era to the Reagan era), the  quality of its songwriting, and the absolute exuberance of the performances. Many such records have these qualities in unequal parts, but Said I Had A Vision contains songs that exceed the normal obscurity-fetish that similar records often cultivate. After I play this record through, I generally feel like everyone I know needs to hear these songs.

It should be no surprise, then, that the music press has embraced this record and the regional vision behind the Paradise of Bachelors label, which is co-curated by folklorists Jason Perlmutter and Brendan Greaves. I was excited to learn that Wax Poetics had featured Said I Had a Vision in a recent issue; here's Jon Kirby:

A man of faith, [David] Lee's output tended towards the spiritual. And although most benefit from Cleveland County's proximity to Charlotte's Arthur Smith and Reflection Studios, perhaps his most generous offering was recorded on location at Mice Creek Baptist Church, in nearby Gaffney, South Carolina. "On My Way Up" by the Relations Gospel Singers showcases the careening lead of Steve Allen, whose exorcism range leaves church-van tracks through a field of delicate piano and choral support, recalling the fly-on-the-wall intimacy of an Allan Lomax artifact. Much of Lee's color-blind songwriting was realized by the Constellations, a salt-and-pepper ensemble who, during Shelby's annual Art of Sound Festival last October, proved they could still do "The Frog," walking sticks in hand. "They were just like kids to us when they started," revealed wife Nelena of Lee's most allegiant act. "We was just like a big family, rolled up together." With the exception of "northern soul" curiosity Ann Sexton, most on Lee's short-but-sweet roster still reside in Cleveland County, like blue-eyed crooner Bill Allen from nearby Cherryville. "You probably drove past there!" exclaims Lee. "You should have hollered for Bill when you was coming through." 

Further write-ups on the resurgence of interest in Mr. Lee's work has appeared in Our State magazine and The Charlotte Observer. Earlier this year, Mr. Lee was awarded the Brown-Hudson award by the North Carolina Folklore Society, introduced by Mr. Perlmutter and Mr. Greaves. Afterwards, he gave a performance of "I Can't Believe You're Gone" and "I'll Never Get Over Losing You," the latter of which appears on Said I Had a Vision: 

Paradise of Bachelors will release an LP/download of new material emerging from the South this fall: Poor Moon by the much-loved and critically-acclaimed Hiss Golden Messenger. Also in the works is a release of new and remastered material by Willie French Lowery, a member of the Lumbee Tribe in North Carolina and who has worked previously with the psychedelic bands Plant & See and Lumbee. I'll include a sample of each artist below; you can also follow the latest Paradise of Bachelors news on their Facebook page.

Hiss Golden Messenger from Gianmarco Del Re on Vimeo.

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[Discovering Carolina Soul was originally published on September 23, 2010]

The former Washington Sound on Buffalo Street in Shelby, NC; from Carolina Soul

Throughout the sixties and seventies, at least one hundred African-American-owned R&B/Soul record stores thrived in the Carolinas. These retail shops, with their close links to recording studios and local record labels, were on the front lines not only of new musical ideas, but of the civil rights struggle itself. Today, this music's story is being told in a compelling fashion on the Carolina Soul blog/archive, which has spent the last five years locating and documenting the wide array of R&B/Soul music created in North and South Carolina--much of which has never been re-issued since its original release as 45 rpm records.

If you peruse Carolina Soul's extensive discography the material object of the vinyl record begins to stand as a symbol for a kind of rural-urban linkages that revolutionized the last half-century's artforms and its push toward social justice.  This effort to rediscover these recordings, and to tell the stories of these musicians and their communities, is led by Jason Perlmutter (a chemist and local music collector) and Jon Kirby (an associate editor at Wax Poetics). Mr. Perlmutter, in partnership with folklorist Brendan Greaves, has begun the Paradise of Bachelors record label and is currently pressing their first release -- a retrospective of the music released on David Lee's various record labels entitled Said I Had A Vision.

Mr. Lee, who currently resides in Mooresboro, ran the Impel, Washington Sound and SCOP (Soul, Country, Opera, Pop) labels and often contributed his own songs to his musicians. Carolina Soul recently visited Mr. Lee, and, earlier in the year, the folks behind this project spent time talking with some of the artists who worked with him. Here we see the The Constellations, both then and now:

 

 

Here, from the Paradise of Bachelors' blog, is a description of the ground-breaking work done by The Constellations:

We spent an illuminating and pleasant afternoon in Mooresboro, North Carolina with the Lees; Harold Allen, Don Camp, William “Butch” Mitchell, and Benjamin and Bryan “Brownie” Guest of the Constellations. Hearing these gentlemen’s stories about unflagging brotherhood, camaraderie, and the timelessness of “love ballads”–in the face of physical threats, racist invective, and a Southern and national climate opposed to their very existence–was truly inspiring. The Constellations were the first mixed-race combo in the area, and they did it as mere kids, getting started in 1958 or 1959 as teenagers and only dissolving upon the departure of members to Vietnam in 1964 and 1965.

In that time, they recorded six energetic sides for David Lee, all of which belie their tender ages, plus two unreleased tracks–”Have You Seen My Baby?” and “I Want to Jerk”–which Mr. Lee sent to Benjamin Guest while he was serving in Vietnam. Those tapes may yet emerge for your delectation…

We can only hope to that some of this music makes its way on to Carolina Soul or onto a newly-pressed piece of vinyl via Paradise of Bachelors.

As a closing note, for those who would like to hear these gentlemen put these songs into a more eloquent context than I can provide, please refer to their interview with Frank Stasio on NPR's The State of Things.

Bob Dylan's Direction Home

[Editor's Note: As I am facing numerous writing deadlines over the second half of February, this seems like a good time to give a retrospective glance to the first two years of Art of the Rural. Over these weeks I will feature a few new articles, but also many favorites from the archives. Thanks again to everyone who has read and contributed; what began as a labor of love has become a project far larger, and far more rewarding, than I ever could have anticipated - and I deeply appreciate the readership and participation of such a diverse audience. In March we will offer new articles and series, and share some new projects related to our mission.

Bob Dylan's Direction Home was originally published on January 25, 2011. His summer tour did not travel through Minnesota.]

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City’s just a jungle, more games to play
Trapped in the heart of it, trying to get away.
I was raised in the country, I been working in the town
I been in trouble ever since I set my suitcase down.

     --from "Mississippi"

Last week Aaron, a reader from Ohio, passed along some very interesting news. It appears that Duluth, Minnesota, Bob Dylan's birthplace, is actively working to bring back their estranged native son for a concert on his 70th birthday. The news of these plans has been documented in forums on the encyclopedic Dylan resource Expecting Rain, and was confirmed last month in the Duluth News Tribune, where John Ziegler reported that city officials are currently in talks with Dylan and his management to bring him back to Minnesota on or around his May 24th birthday. 

As with all things Bob Dylan, this story contains a good deal of rumor and apocrypha. For instance, I heard that the small mining town of Hibbing, Minnesota, Dylan's hometown, had originally sought to welcome the musician back on his 70th birthday (Aaron tells me that Dylan last visited for his ten-year high school reunion, where he was roundly ignored by his former classmates), yet Mr. Ziegler reports that Duluth had extended their invitation a full year ahead of schedule, contacting him on his 69th birthday. Regardless, if Dylan accepts this invitation we will see a great deal of media attention focused on his rural Minnesota roots. While there may be a nostalgic whiff to such reflections, it is significant to think of Dylan-the-70-year-old back in Minnesota, over four decades after he recorded his generation-defining howl of "no direction home".

If we put that song--and the long-view of Dylan's legacy--in perspective, then what could also come out of such a birthday in Minnesota could be a reappraisal of a whole generation's relationship to rural place. While Dylan did his best to shirk his "voice of a generation" status, it's clear that his life narrative, captured so eloquently in "Mississippi," is representative of many of his fellow baby boomers: that first wave of the "rural-brain drain," many of whom would later take part in the flight out of America's urban centers and into a suburban life where rolling stones meet their cul-de-sac. 

However, Dylan's last handful of records have embraced the traditional forms of blues and country music just as baby boomers are returning to facets of their own rural upbringing. While the local and organic food phenomenon is part and parcel of this generational trend, many are realizing (as Wendell Berry did so many years ago, in his essay "A Native Hill")  that you can go home again. In my own home region this has been occurring for a few years, as baby-boomers begin to form organizations to preserve our small Ohio Valley town--and to hopefully bring it back to some semblance of its former self. 

Beyond this, the issue becomes one of what "homecoming" means, and how the rural diaspora negotiates this return. As this teenager's video from Hibbing suggests, life never stopped in these communities, and those who stayed both welcome and resent the influence of those who left.

We'll be following the events surrounding this birthday concert; until then, here's a short video produced by the University of Minnesota in conjunction with the UM Press's release of Highway 61 Revisited: Bob Dylan's Road from Minnesota to the World, edited by Colleen J. Sheehy and Thomas Swiss: