December 2013
Ginger, Spice and Everything Nice...
Acadiana’s Publication for the Arts
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2 December 2013
Overture Magazine
Bright1
dreaming of a
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December 2013
features
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CONCERT FEATURE A traditional Christmas musical celebration for all to enjoy.
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CAROLERS HIT THE SAINT STREETS Neighbors spreading good cheer.
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GINGERBREAD HOUSE CONSTRUCTION BOOMING No hard hat necessary, but a sweet tooth is a must.
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THE WONDER OF GINGERBREAD German roots gone global. KEEP CALM...THE SINGING CHRISTMAS TREE IS HERE Sit back, relax and enjoy the show.
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GUILLOCHÉ: VIVIAN ALEXANDER Ancient art meets Acadiana’s own master artisan.
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THE BIG LITTLE VOICE OF AULANDER Internationally known opera singer pays respect to her roots.
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MUSICIAN, FIRST AND FOREMOST Passion, persistence and pushing aside fear to achieve greatness in music and business.
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MAKE TONIGHT MEMORABLE. P L AY T O H E R H E A RT.
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December 2013
contents 8 OPENING NOTES Jenny Krueger, Executive Director
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10 FANFARE Mariusz Smolij, Music Director & Conductor 12 GUEST COLUMN Jason El Koubi, President & CEO of The Greater Lafayette Chamber of Commerce 20 LEARNING THROUGH MUSIC: Do-Re-ME! Conservatory of Music
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24 LOOKING AT PAINTINGS Lisa Osborn 34 NOEL ACADIEN au VILLAGE 33rd LARC Annual Christmas Festival 36 PUBLIC SCHOOL ARTS EDUCATION Lafayette High School Chorus 38 MUSIC FROM THE HEART Eliza Grace Gothreaux 40 PRIVATE SCHOOL ARTS EDUCATION Ascension Episcopal School
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52 COMMUNITY SEAUXCIAL HIGHLIGHTS March of Dimes Signature Chefs Auction 56 STANDING OVATION Contributors to the Arts in Acadiana 58 SYMPHONY SEAUXCIAL HIGHLIGHTS ASO Maestro Circle - Legacy of the Atchafalaya 58 SYMPHONY SEAUXCIAL HIGHLIGHTS Disney’s Fantasia VIP Party for Children
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Overture Magazine
December 2013 Vol. 1, No. 4
PUBLISHED BY
EDITOR Jenny Krueger jenny@acadianasymphony.org
PROJECT MANAGER Rebecca Doucet rebecca@acadianasymphony.org
WRITERS Emily Brupbacher Johanna B. Divine Ann B. Dobie Samantha Hoffpauir Marisa Olson marisa@acadianasymphony.org
ACCOUNT EXECUTIVE Carolyn Brupbacher carolyncb@me.com • 337.277.2823
GRAPHIC DESIGN/LAYOUT Mike Bedgood • Innovative Digital, LLC mike@inndgtl.com • 337.322.2854
CONTRIBUTING WRITERS Jason El Koubi, Lisa Osborn, Mariusz Smolij MAILING ADDRESS 412 Travis Street Lafayette, LA 70503 EMAIL overture@acadianasymphony.org ON THE WEB acadianasymphony.org
Overture Magazine is published nine times a year and distributed free of charge by Acadiana Symphony Orchestra & Conservatory of Music. No parts of this periodical may be reproduced in any form without the prior written consent of Overture Magazine. The owners, publishers, and editors shall not be responsible for loss or injury of any submitted manuscripts, promotional material and/or art. Unsolicited material may not be returned. Advertising in Overture Magazine does not imply endorsement by Overture Magazine or Acadiana Symphony Orchestra & Conservatory of Music. Overture Magazine reserves the right, without giving specific reason, to refuse advertising if copy does not conform with the editorial policies. Overture Magazine does not necessarily agree with nor condone the opinions, beliefs or expressions of our writers and advertisers. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers. © 2013 Overture Magazine. All Rights Reserved.
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Opening Notes
Be A Voice, Not An Echo Jenny Krueger, Executive Director
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What makes you sing? Not just humming, or softly singing a little tune. What makes you sing in a way that you wouldn’t want anyone to witness? I tend to sing more myself this time of year. I think there is a hidden spirit in the tunes I love. It gives me the opportunity to travel to a different place within myself where I can be silly and happy. As you read the December issue of Overture, I hope that it will make you want to sing your song. You will learn that whether you sing with friends like the Saint Street Carolers, or on the big stage like opera star Jennifer WelchBabidge, the power of the voice is strong and magical. Get to know successful businessman, John Casbon, who speaks to us all through the sound of his harmonica, and learn more about the magic of gingerbread. I hope the December issue will warm your heart, encourage you to enjoy the magic and music that is in the air this time of year, and feel the love that is all around you. Keep calm and sing your song.
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Talent means nothing without opportunity. It isn’t enough to simply have talent. You have to hone it and put it to use; otherwise, it will go unnoticed. The same can be said for your wealth. Having investments is one thing, but for them to reach their potential, they must be handled responsibly. As Financial Advisors, that’s our job. We would welcome the opportunity to discuss with you how we can help you make the most of your assets.
Thomas H. Foard Senior Vice President Financial Advisor thomas.h.foard@ms.com
On behalf of Morgan Stanley, we wish Acadiana Symphony continued success, and proudly support their talents as we celebrate their achievements.
Robert C. Foard Financial Planning Specialist Vice President Financial Advisor robert.c.foard@ms.com 400 East Kaliste Saloom Road Lafayette, LA 70508 337-267-2521 www.morganstanleyfa.com/foard
© 2013 Morgan Stanley Smith Barney LLC. Member SIPC.
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Fanfare
Musical Gifts
Mariusz Smolij, Music Director and Conductor
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The month of December is a special time for giving, the right moment to reflect upon the intangible gifts, such as the gift of music. History is replete with inspiring musical dedications, many of them purely altruistic and ideological. Beethoven’s Symphony No. 3, Eroica (Heroic Symphony), is one of the most famous examples. The German composer was so inspired and moved by the early accomplishments of the young Napoleon Bonaparte, particularly his support for “liberty, equality and fraternity,” that he dedicated one of his most magnificent symphonic compositions to him. After Napoleon later crowned himself Emperor and invaded other countries, Beethoven angrily removed the dedication page from the manuscript. The music, however, is still with us, and the musical dedication to the heroism of the historical freedom fighter can be easily interpreted as a gift and appreciation to all who believe in the same noble ideas. Composers often dedicated their creations to current supporters, or wrote special works in order to gain new patronage. In an attempt to gain an employment at the Court of the Count of Brandenburgia (a region of Germany, near Berlin), Johann Sebastian Bach created a cycle of six famous concertos and dedicated them to the Count. His Highness never opened the envelope with Bach’s handwritten scores, and Bach did not succeed in working for him, but because of the original dedication, the compositions are still known today as the Brandenburg Concertos. Ironically, nothing gave the Count more mentions in German history than his refusal of Bach’s special musical gift, and his lack of ability to notice the composer’s uncommon talent. Modern American history is also replete with examples of wonderful musical gifts. The Pulitzer Prize winning, American composer John Adams created a composition
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for the victims of the September 11 Terrorist Attacks titled, “On the Transmigration of Souls” (2002). Another master of contemporary American music, John Corigliano, dedicated his Symphony No. 1 (1988) to many of his friends and artists who were lost to AIDS. The number of happy dedications certainly exceeds those connected to tragic events. ASO’s December concert will feature “Siegfried Idyll,” Richard Wagner’s special gift to his wife upon the birth of their first child. Our organization recently created a special musical contribution to our community in general, and to the Acadiana Boy Scouts in particular, with the commission and presentation of “Legacy of Atchafalaya,” a work for orchestra and children chorus describing the beauty of this region, and the Scouts’ commitment to its preservation. The work premiered on October 19, 2013. Later this season, the ASO and the Baton Rouge Symphony will join together to perform Gustav Mahler’s famous “Resurrection Symphony.” This Symphony expresses the composer’s joyful spiritual journey and musical gift following his conversion to Christianity. As we present you this month with the musical celebration of Christmas, please consider accepting this concert as another gift of music, an offering from all the composers, performers and our sponsors. I hope you will enjoy the joyful sounds! Overture Magazine
Acadiana’s Publication for the Arts
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Guest Appearance
Greater Lafayette Chamber In Tune with Acadiana Jason El Koubi, President & CEO of The Greater Lafayette Chamber of Commerce
As the new President & CEO of the Greater Lafayette Chamber of Commerce, I am thrilled to join a community that boasts not only a strong economic trajectory but also a vibrant artistic culture. Like many other people near and far, I’ve long been attracted to Acadiana’s culture, including the food, language, dance, and music in this area. Indeed, our vibrant culture and assets like the Acadiana Symphony foster a high quality of life in our community, helping to attract and retain families and businesses alike. Moreover, those things are also a big part of what gives us a common identity and pulls us together as one Acadiana. These types of anecdotal observations about the importance of cultural assets are supported by the data. For example, in a recent survey of leading corporate site consultants by Area Development magazine, a majority of respondents cited “cultural opportunities” as an important quality-of-life factor influencing decisions around where to locate and expand business operations. Furthermore, the direct economic impact of our cultural activities is substantial. According to figures from the Lafayette Economic Development Authority, the arts, entertainment, and recreation industries contribute more than $100 million annually to Lafayette’s economy (gross domestic product). As a supporter of the arts in our community, you 12 December 2013
play a significant role in developing these cultural assets in ways that honor our traditions and inspire an even bigger vision for our future. Upon assuming my new role at the beginning of September, I began a focused process to learn more about the Lafayette area and to better understand the aspirations and priorities of the business community. The Chamber will be a vehicle for realizing those aspirations and priorities as we work together to create a vibrant, prosperous future that leverages and honors the extraordinarily rich culture and entrepreneurial spirit of the Acadiana region. As an important step in that process, we have launched a community survey to understand the perspective of people across the Lafayette area. The survey should take about five minutes to complete and can be accessed at www.surveymonkey.com/s/ LafChamberCommunity. The responses from the community survey will be complemented by a more in-depth survey of Chamber members. As we move forward, we should consider new opportunities to channel our region’s artistic creativity along with its entrepreneurial spirit to drive innovation and economic growth. I’m delighted to have the arts community as a key partner in that effort and look forward to working with its strong network of supporters like you. Overture Magazine
Acadiana’s Publication for the Arts
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Concert Feature
“I’ll Be Home For Christmas”
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Johanna B. Divine
The twinkle of Christmas lights, smell of wood smoke, and taste of home-baked goodies delight our senses each holiday season, but the familiar sounds of traditional Christmas music—whether sung a cappella or performed by a symphony orchestra—highlight the season for all of us. This year, the Acadiana Symphony Orchestra brings patrons a very special concert, “I’ll Be Home for Christmas.” Sponsored by LHC Group, Ralph and Cherie Kraft, the concert features traditional orchestral arrangements coupled with special choral performances by the ASO Chorus and guest soprano soloist, Jennifer Welch-Babidge.
English carol “Christmas Day” by Holst, to “Exultate Jubilate,” a rare solo vocal composition by Mozart. Handel’s “Messiah,” one of the most famous musical commentaries on the story of the birth of Jesus Christ, will also be performed. For those who wonder why the famous “Hallelujah” chorus from “Messiah” is not included in the concert, Smolij reminds us that this excerpt comes from the Easter portion of the piece. “Danse Bacchanale” from Samson et Dalila by SaintSaens opens the concert, reminding audiences where the historical events of Christmas took place, and capturing
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This is a concert celebrating life, family, and holiday
“The Christmas concert, traditions—a rare opportunity for families to share by definition, has the musical warm, quality time together.” celebration of the holidays as Mariusz Smolij its main theme, but the type of music and guest artists vary from Musical Director year to year,” says ASO Music Director Mariusz Smolij. “This season, instead of emphasizing the connection with the essence of the Middle Eastern musical style and local popular artists as we have done in the past, we are timbre. taking a more classical approach. It’s what I call a ‘velvet’ One exciting aspect of this year’s concert is featured musical celebration, with an English Victorian flair.” soprano soloist Jennifer Welch-Babidge, who sang with The concert includes compositions in a variety the ASO last season at a subscription concert in St. of distinctive styles, ranging from the traditional
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Overture Magazine
John’s Cathedral. “Her voice and musicality were greatly appreciated by our audience and we are happy to have her back,” continues Smolij. “Jenny’s resume includes performances at the New York Metropolitan Opera and on other world stages. We are fortunate to feature her again this month.” During the sing-along portion of the concert, members of the ASO Youth Orchestra will appear on the Heymann Performing Arts Center stage alongside their older colleagues and teachers. The concert offers these young musicians a rare opportunity to experience the excitement of live performance on a grand scale.
“I’ll Be Home for Christmas” will be held December 19, 2013, 6:30pm at Heymann Performing Arts Center in Lafayette. Tickets are available by visiting www. acadianasymphony.org, or by calling 337-232-4277, ext. 1.
Acadiana’s Publication for the Arts
©iStockphoto.com/kirstypargeter
Post-acute care provider LHC Group is excited to sponsor this year’s performance. “Supporting the Christmas concert not only helps bring music to the greater community, it offers our employees the opportunity to attend a top-notch concert event,” says Benny Ross, LHC Group Media Relations Coordinator. “We hope everyone enjoys the gifts this holiday season brings, including the chance to relax and celebrate Christmas music provided by Mariusz and our Acadiana Symphony Orchestra.”
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Carolers Hit the Saint Streets
By Johanna B. Divine, Photos by Gwen Aucoin 16 December 2013
Overture Magazine
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Thought Christmas caroling was a thing of the past? Think again. Each Christmas season, the Saint Street Carolers gather together to spread holiday cheer from door to door in one of Lafayette’s oldest neighborhoods. Founded a decade ago, the group has grown from ten neighbors sharing dinner and a tune or two to more than one hundred friends armed with coats, scarves and songbooks. Overture caught up with Saint Street resident and caroler-extraordinaire Nicole LeBlanc to find out more about the past, present and future of the Saint Street Carolers:
Overture Magazine (OM): Tell us a little about the origins of the Saint Street Carolers.
Nicole LeBlanc (NL): The Saint Street Carolers formed ten years ago—it was the brainchild of our dear
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friend and neighbor, Robin Miller, who wanted to get a group of people together for a progressive Christmas party. We started at one house, stayed there for a while and then moved from house to house, caroling in between.
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We had so much fun the first year that we decided to keep it going. It’s never been a formal group, and each year is different from the last.
OM: Can you describe a typical night of caroling? NL: We usually gather at the same house each year and start the festivities in the late afternoon, so we’re not caroling too late in the evening. Friends will trickle in for an hour or two, enjoy drinks and appetizers and just mingle a little, to get their caroling nerves up! We have two unofficial leaders who hand out caroling books and try a couple of warm-up songs, just to get everyone in the spirit. We try to hit the road just after dark and basically just walk through the neighborhood, stopping and singing for our neighbors and friends. A few of the people in our group are charged with knowing which neighbors are expecting us, so we try to visit those folks first. For the past five years, we’ve caroled for a while, then finished the evening at another friend’s house, about half a mile from where we started. That’s a typical night, but it’s always changing, always evolving.
OM: Has the group grown over the years? NL: In the early years, it was a smaller group of maybe twenty or so people, but in the last few years—if the weather is nice and it’s not raining—we’ve had more than one hundred people singing together! I think it’s grown primarily from word of mouth, but social media has also played a part. One of best aspects of the carolers, to me, is that I’ve never heard anything negative about the experience. It continues to be a wonderful, creative neighborhood gathering where everyone comes together in good spirits to share holiday cheer.
“The beauty of caroling, to me, is its simplicity. Singing doesn’t take money or equipment, just a willingness to share. It’s gift giving through song.”
OM: Do you need singing experience to join the carolers? NL: Absolutely not! In fact, it’s better if you don’t! OM: Does the group rehearse? NL: It’s a very informal group, so, other than the 20 or so minutes before, there’s no rehearsal. In fact, we often sing the same songs over and over—songs like Jingle Bells, Silent Night, and Rudolph the Red-Nosed Reindeer— because they’re easy and everyone knows them! Believe it or not, our song leaders often just yell out the name of a song in the songbook, count it off, and everyone starts singing—it’s that easy! 18 December 2013
OM: Are there any moments that stand out from years past?
NL: Yes, there are three stories in
particular that stand out in my mind. One thing I never really thought much about before we started caroling was the reaction of people we are singing to— the emotional response that these songs evoke. One year we stopped at a house and there were five or six younger folks who came out to listen. They were really into it, excited and singing along. Afterwards we stayed back and talked and found out that a few of the young men had just come back from Iraq. They were so happy to be home and so appreciative to have us there. It made them—and us—so happy. We thanked them for their service and they thanked us for bringing them so much joy. It was a really wonderful moment. The second memory I have is of a house we went to two or three years ago. A woman caretaker answered the door and told us that the owner of the house was too sick to come out, but asked if a group of us could please come in and sing to her. It meant so much to her to have us there to sing with her. She was very emotional and we were, too. I guess you just never know what singing can bring to people—it’s the power of the human voice. The last memory I’ll share is a funny one. One year we approached a house and the owners came to the door. They asked us to wait outside for just a minute, and when they opened the door again, out comes a group of ten or so singers, musicians and drummers, singing Christmas carols—to us! It was a singing ambush!
OM: What is it about caroling that you love? What keeps the group going?
NL: The beauty of caroling, to me, is its simplicity. Singing doesn’t take money or equipment, just a willingness to share. It’s gift giving through song. Caroling brings joy to both giver and receiver. There’s nothing like sharing that kind of joy with an ever-growing group of friends and neighbors. Overture Magazine
Acadiana’s Publication for the Arts
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ASO’s Conservatory of Music
Learning Through Music: Do-Re-ME!
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Ann B. Dobie
For some of Acadiana’s elementary school students this school year has been about more than reading, writing, and arithmetic. To their surprise and delight they are also learning about sounds and rhythms and movement. This new set of studies, however, is not separate and apart from the traditional curriculum. Instead, thanks to Do-Re-ME!, a program funded by a grant received by the Acadiana Symphony Orchestra and Conservatory of Music, music is now being integrated into math, social studies, reading, and writing as a supplement and support to the established course of studies.
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Photo by Lucius A. Fontenot
Photo by Nouveau Photeau
Sponsoring such a program is a natural move for the ASO as it is one of only two orchestras in the United States that is associated with a conservatory – a school of music. Here in Acadiana the two institutions work together as an organization to develop high quality musical performances and educational programs for audiences young and old. The Symphony, in addition to its performances at the Heymann Performing Arts Center, gives concerts in outlying communities such as New Iberia, Abbeville, and Crowley, as well as in churches and schools in Lafayette. For its part, the Acadiana Conservatory of Music offers a wide variety of programs that include instrument and vocal instruction for thousands of students in
Overture Magazine
Do-Re-ME! grew out of a collaborative 2010 pilot project by the Acadiana Symphony Orchestra with the Boys and Girls Club of Acadiana to discover how music could affect student learning and behavior. The goal was to see a 20% improvement in the academic performance of the participating students. The actual result was a 60% improvement in academic achievement, a 50% improvement in social behavior, and a 40% improvement in parental involvement with students in the pilot project. With such impressive results, the ASO was encouraged to broaden the scope of the project. Hence the Do-Re-ME! program was born. Do-Re-
Do-Re-ME!
Because we are all unique in how we learn.
Learns by listening, and answering questions.
Learns by observing colorful pictures
Learns by using their hands
Auditory
Visual
Kinesthetic
Acadiana’s Publication for the Arts
ME! can be described as an “arts integrated” approach to education designed to nurture a child’s cognitive, emotional, social, language, and physical development. During classes children sing, dance, and play. They explore the different sounds various objects make, meet new instruments and read books in an atmosphere that is completely interactive. The students have access to such unusual learning tools as rhythm sticks, hoops, jump ropes, and instruments they have never seen before. The music selection is eclectic. Songs are chosen not by status in the musical hierarchy, but by the power to captivate children. One goal is to ensure that students are singing, dancing and having a good time as they are learning. Photo by Nouveau Photeau
collaboration with local schools, as well as on-stage performance opportunities for budding musicians. Lessons and classes at the Conservatory, taught by a faculty of professional musicians from around Acadiana, are paired with the Conservatory’s educational outreach activities offered by world-class guest artists, teachers, and mentors. The partnership between Symphony and Conservatory enables orchestra musicians to be involved with the education of children, too, by allowing Conservatory students to perform at some of the symphony concerts. Students are encouraged to participate in semester-end recitals and in ensembles such as the Prep and Youth Orchestras. Do-Re-ME! is just the latest effort of the Acadiana Symphony Orchestra and Conservatory of Music to educate, entertain and involve our community in musical experiences of the highest quality.
In the classroom Do-Re-ME! supplements the curriculum that is already in place by teaching academic material using novel and creative approaches. In social studies, for example, students learn about the cultures of other people by listening to their music. In language arts students are encouraged to play the rhythms of a story on their bodies before reading it, thereby recognizing the natural rhythm of language. The process also helps them to retain the material longer. To develop their writing skills Do-Re-ME! asks them to use large and small motor skills to build letters and numbers and shapes with objects such as jump ropes. In math children explore concepts such as opposites by recognizing differences between big and small, fast and slow, loud and soft through sound. Students learn to recognize the
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Do-Re-ME! Arts Integration What is it?
• DRM is NOT a standalone music program • DRM is unique in that it applies the concept of “arts integration” • DRM uses music, to increase and reinforce comprehension in all academic material
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Standards of Music Education.
relationships that different notations and musical symbols can have. In sum, Do-Re-ME! teaches writing through constructing shapes, reading through rhythm, math through problem solving, and social studies through sound. The program also brings in internationally known artists, such as Jennifer Welch-Babidge, and local artists such as Christine Balfa to perform with the students in interactive concerts.
Language 30%
Opposites
Music IS opposites Fast/Slow Loud/Soft Up/Down
Photo by Lucius A. Fontenot
Do-Re-ME! was introduced in the 2012-13 school year to prekindergarteners at Truman Early Childhood Education Center in Lafayette Parish. With goals similar to those of the 2010 pilot with Boys and Girls Club of Acadiana, the exciting news is that the Do-Re-ME! evaluations are just as positive. Early results indicate a 30-50% increase in kindergarten preparedness scores. In addition, Do-ReME! supports the Common Core Standards, the State of Louisiana academic benchmarks and the National
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40%
Components of Writing
Rhythm sticks Large Motor Skills Fine Motor Skills Letter Building
Math 50%
Logical Operations
Problem Solving If…….then….. Blue square=blue shaker
He comments on the importance of reaching children at young ages if educators are to have a positive influence on their future. He recognizes the importance of using non-traditional ways to help students learn, and has “confidence in the Acadiana Symphony to deliver results.” Do-Re-ME! sponsors wax equally positive. The
Photo by Lucius A. Fontenot
Photo by Lucius A. Fontenot
The personal testimonies about the effectiveness of the program are as exciting as the rising test scores. John Bourque, Superintendent of Schools in Acadia Parish says, “We were looking for ways to motivate students and get them actively involved in the learning process. DoRe-ME! seems to meet these needs. We are extremely excited about the program.” Randy Prather, President of First National Bank of Crowley, is equally enthusiastic.
Overture Magazine
Photo by Lucius A. Fontenot
Moody Company Foundation explains its involvement as follows: “Historically, The Moody Company Foundation has supported both the arts and traditional education in Acadiana. We were hooked when we learned that the DoRe-ME! Program was using different arts media and musical techniques to teach children basic components of math and English. The data coming from this program cannot be ignored, and after watching this program in action and seeing the responses from the children, it is a clear partnership for TMC Foundation. We believe in the Do-Re-ME! program and are excited with the success seen so far.” Supporters at IBERIABANK are pleased that “The program at Truman and now in Acadia Parish reaches hundreds preschoolers who may not otherwise have an opportunity to have an enhanced learning environment. We are equally excited that research from last year’s piloted program at Truman reflects an increase in kindergarten preparedness test scores, in particular math and language – and that the program has continued with a rollout in Acadia parish schools for the 2013-2014 school year. IBERIABANK is excited to be part of a community-wide effort with the program which includes partnerships with ULL, Lafayette Parish School System and the Picard Center.” Senator Page Cortez, who with State Representative Jonathan Perry drafted the grant proposal that has provided funding for Do-Re-ME!, says, “There is clearly a connection between academic achievement and the use of music in instruction. This small investment on behalf of the state to continue this program will return great benefits to the Acadiana area and the State of Louisiana.” The most persuasive evidence of the positive effects of Do-Re-ME! can be seen on children’s faces as they find delight in beating out rhythms, playing instruments, dancing and singing. Their smiles are proof of the power of Do-Re-ME! to engage them in learning about reading, writing, math, and social studies. The three Rs are still in place, but now they are firmly supported by music. Acadiana’s Publication for the Arts
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Looking at Paintings By Lisa Osborn
24 December 2013
Overture Magazine
Why I look at paintings. The whole point of looking at paintings—at art—is to have an aesthetic experience. This is a kind of sublime feeling of communication with an art work that is what truly drives the making of art in most mediums. An artist must acquire skills, compile a visual language and have the need to express ideas that are not specifically connected to words—this is the primary job of fine art and the artist. Here are several questions I ask that help me to have at least an interesting, if not aesthetic, experience with a picture. • What do I see? • How do I know that? • Am I enjoying this?
MORANDI What do I see? A muddy and unexciting image. A roughly drawn still life. Things on a table . . . How do I know that? Is it a table? What are these things on? What does the “black and white” pattern at the bottom of the painting indicate? What are these things? The object on Giorgio Morandi, Courtesy of Galleria dello Scudo, Verona, the left is a reddish ©2013 Artists Rights Society (ARS), New York/SIAE, Rome brown box, maybe, but the top of it morphs with the table (?) top. The yellow thing can’t be where it is in relation to the bottle. There isn’t enough room. Is the thing behind a shadow or an object? What happens at the top of that object near the bottle’s neck? The object comes forward . . . Morandi has invented space and objects and all the rules that apply to how they all behave in space. He has even invented the place these objects are.
Still Life, V.896, 1953-54
Is it possible for the striped box and the blue box to be where they are with that cup in front of the blue box? Is the red/brown box space or an object? How can those bottles be SO close to the cups? There isn’t enough room. Where is the space these things inhabit? The space next to the box could almost be an object . . . Morandi is a space master. Morandi painted in the early 20th century. His Modernist contemporaries had an intellectual approach to dealing with space in a painting. Photography had freed pictures from having to recreate the world and now allowed a more material approach. Ayn Rand said: “Art is a selective re-creation of reality . . .” Morandi said: “Nothing is more abstract than reality.” Did I enjoy it? Yes. I am always astonished by Morandi’s ability to manipulate my assumptions of space and objects. He is a master at flipping negative space into an object into something in between and always manages to bring me right along with him. I very much enjoy looking at Morandi. I admire how inconspicuous and modest his paintings appear and how pleasurable and complex the experience of looking at them is. Asking the “what do I see” question may now begin to seem excessive, but I still ask. The words assist the process of engaging with a picture by giving something specific to occupy, focus and hush my mind. I want an experience that is primarily non-verbal or about language alone. The questions become the signal that allows me to engage in seeing.
Giorgio Morandi, ©Archivio Fotografico Mart , ©2013 Artists Rights Society (ARS), New York/SIAE, Rome
This is only what I do. No single method represents the exhaustive repertoire of engaging with artwork.
What am I looking at?
What do you see? How do you know that? Are you enjoying this?
Objects on a table, 3 boxes, 2 bottles and 2 cups . . . Acadiana’s Publication for the Arts
©iStockphoto.com/TommL
Still Life, V. 874, 1953
How do I know that?
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Gingerbread House Construction Booming By Samantha Hoffpauir
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Baking scrumptious goodies at Twin’s Burgers and Sweets is a year-round job, but, for proprietors Billy and Denny Guilbeaux, each December marks the time to add some Cajun ingenuity to that beloved holiday centerpiece – the gingerbread house. Like its real-world counterpart, a quality gingerbread house is constructed with the best materials. “We start by baking the gingerbread planks – the front, back, bottom, sides, and roof of the house,” says Billy Guilbeaux. “The first night we put the front and back and sides up and use royal icing to hold everything together. The house sets overnight so the icing can harden between the joints. The next day the roof goes on and that also has to dry overnight. It’s a threeday process.” The royal icing is made from a special recipe that enables Twin’s to use it as ‘glue’ to hold the houses together; the icing has a crunchy texture and sugary taste when it dries. On the third day of construction, the bakers finish by decorating the gingerbread houses with M&Ms, sprinkles, iced-gingerbread candy canes, and other colorful confections. Twin’s adds some lagniappe in the form of one dozen eggnog cookies stuffed inside the house. “That’s the reason to break off the roof and start eating,” laughs Billy. “The eggnog cookies hidden inside. People love them.” Each gingerbread house is wrapped in cellophane and topped with a bow, ready to eat and enjoy. Twin’s sells about 75 – 100 houses each holiday season. Some families buy them for their Christmas display; other people get a gingerbread house for a loved one. “It makes a really good gift. No one expects a gingerbread house, or one that tastes so good.” For those who prefer custom homes, Twin’s does special decorations by request and can add a logo or business card to the roof. Twin’s is considering rolling out do-it-yourself gingerbread house kits this year. The kits would include a flat base, seven pieces of gingerbread,
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royal icing, decorations, and instructions. The royal icing has to be freshly mixed to work as glue, so it would come straight from the kitchen in a tube for easy application. The DIY kit would be most enjoyed by the patient customer. According to Billy, “It takes at least two days to make a gingerbread house. Most people try to do it in one night and the house falls apart. It takes patience.” Billy thinks that could be a good Christmas lesson, especially for children. “It’s a process that can teach your kids patience. If they have patience and can wait, the house can be great.” Some sugarcoated holiday wisdom for your table. Gingerbread men were a huge hit at last year’s Festival of Lights, so much that Twin’s ran out. “We couldn’t keep up. People kept coming back for more.” Twin’s uses a traditional recipe to satisfy even the pickiest sweet tooth. “Most people say they don’t like gingerbread. They don’t like it, because they’ve never had good gingerbread,” says Billy. “We’re bringing more gingerbread men this year, and also some deer.” Yes, that’s correct. Twin’s also makes gingerbread reindeer, an excellent treat for young fans of Rudolph and his flying crew – from Dancer and Prancer to Donner and Blitzen. Ready-to-go gingerbread houses are available at Twin’s for $59.95, and stuffed with one dozen eggnog cookies. A great gift idea. Twin’s is open Monday through Saturday from 9:00am to 9:00pm, and located in the South College Shopping Center, 2801 Johnston Street, Lafayette.
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The Wonder of
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Overture Magazine
Gingerbread By Marisa Olson
Most everyone knows that gingerbread is a baked sweet containing ginger, cinnamon, cloves, nutmeg, cardamom, anise, and can be sweetened with any combination of brown sugar, molasses, light or dark corn syrup, or honey. European gingerbread has existed for nearly one thousand years, but the gingerbread house was popularized in 19th century Germany after the Brothers Grimm published the fairy tale “Hansel and Gretel.” Early German settlers who emigrated to America brought the gingerbread house (lebkuchenhaeusle) tradition with them, and ever since, our Christmas holidays have not been complete without the delectable bread. Long before the German bread became a popular mainstay in that country, gingerbread made its first appearance in Europe in the 11th century when crusaders brought ginger and other exotic spices back from the Middle East. Until the 15th century “gingerbread” referred only to preserved ginger itself. Around this time, it began to be used as an ingredient in cakes and cookies. The first gingerbread cookies are thought to have been made by medieval European Catholic monks who pressed dough into molds and formed gingerbread cakes for holidays and festivals. Gingerbread became the “wonderbread” of England, France, and especially Germany, where it was prepared as a treat for celebratory occasions. Gingerbread became a sensation at European fairs - and was added to aged meat as to preserve it and mask the odor. An early European recipe consisted of paste of ground almonds, stale breadcrumbs, rosewater, sugar, and – well, ginger, which was then pressed into wooden molds. These carved works of art served as story boards that told the news of the day, bearing the likeness of new kings, emperors and queens, or religious symbols. The finished cookie might be decorated with edible gold paint for the wealthier customer, or with flat white icing to bring out the details in relief.
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Gingerbread became commercially available in 15th century Germany, although was not baked in homes, but made by government-recognized guilds in Germany, France, and Eastern Europe. Nuremberg, Germany was the location of the bestknown guild, the Lebkuchner, which was formed in 1643 and became famous for elaborately detailing lebkuchen with gold paint or icing. Today gingerbread is considered an art form in Nuremberg, Ulm and Pulsnitz in Germany, Torun in Poland, Tula in Russia, Pest in Hungary, Pardubice and Prague in the Czech Republic, and Lyon in France. Vast antique mold collections are displayed in the Torun and Ulm museums, and some are used to make beeswax Christmas ornaments that are in great demand. In the 16th century the English whipped up their version of the delicious bread, substituting breadcrumbs with flour, and adding eggs and sweeteners, resulting in a lighter product. The first gingerbread man is credited to Queen Elizabeth I, who presented visiting dignitaries with gingerbread men baked in their own likenesses; but Gingerbread houses, so beloved by Americans, never caught on in Britain as they have in other parts of Europe.
As ginger and other spices became more affordable to the masses, gingerbread baking kicked into high gear, and ordinary folks began baking the scrumptious bread that once had been daintily enjoyed only by the wealthy and privileged. Today the German version of the gingerbread treat has been assimilated as one of America’s most cherished holiday confections, and been elevated into new heights as worthy of national baking competitions here in the United States. Each year more than 150 contestants from around the country gather at the Grove Park Inn in Ashville, North Carolina, for the National Gingerbread House Competition. While the typical gingerbread house is made from flat slabs of cookie glued together with thick icing, these creations can take hundreds of hours to build by master bakers, and must be made entirely out of edible ingredients and contain at least 75 percent gingerbread, making gingerbread a serious past-time and passion worthy of national fervor. It has taken several hundred years, but gingerbread has infiltrated European and American imaginations and kitchens and has been elevated to an art form. With such a history and the ability to satisfy the palates of so many children and adults taste, gingerbread is certain to remain a treasured, delicious and timeless tradition.
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December 2013 31
Keep Calm... The Singing Christmas Tree is Here By Emily Brupbacher
December is a busy month for many people who rush about preparing for Christmas – the festive parties, the beloved friends and family, the rich food, and unfortunately, sometimes the stress. The holiday season can feel overwhelming, even for those who think of Christmas as a time to celebrate and share in God’s love. This month, take the opportunity to slow down and relax in fellowship with friends and family at The Singing Christmas Tree, presented by First Baptist Church of Lafayette. The Singing Christmas Tree inspires families to celebrate the joy of Christmas by presenting a new message each year. The 2013 show is entitled “Keep Calm…Christmas is Coming,” and is set in 1939 as London was under threat of Nazi invasion. The audience is brought to a small British orphanage where the
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characters are struggling to celebrate a happy Christmas despite the surrounding war. As the story unfolds the realization that God is with us through the good and the bad times spreads throughout London. The Brits “keep calm and carry on” because Christmas is coming. The Singing Christmas Tree has been an Acadiana favorite since the 1980s and 90s, when it was presented at the Cajundome. The show was brought to First Baptist and transformed into a Broadway-style production complete with choirs of all ages, a full orchestra, and a large dramatic cast. After a hiatus, in 2010 the eponymous tree returned. “We were responding to requests both from our members and the community at large to bring back the tree,” said John Frank Reeve, Minister of Music at First Baptist Church. The new tree structure and state-of-the-art lighting system
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HubbEll CHambEr sEriEs no.2
complement the fully staged Christmas spectacular. The tradition has been well received, delighting audiences of about 5,000 people every year. This year the audience is in for a special treat – according to Reeve, “for the first time this year all of the music is original songs.” David Clydesdale, a popular Christian songwriter, composed the score for this year’s presentation. The Singing Christmas Tree is the collaborative fruit of many community groups, including the Academy of Christian Arts dancers, Christian Youth Theatre members and Acadiana Symphony Orchestra musicians. Performances of The Singing Christmas Tree are Friday, December 13 at 7:00pm, Saturday, December 14 at 3:00pm and 7:00pm, Sunday, December 15 at 3:00pm, and Monday, December 16, at 7:00pm. Tickets are $15 for adults and $10 for students, and are available at www.itickets.com, 1-800-965-9324 and the First Baptist Church office. First Baptist Church is located at 1100 Lee Avenue in downtown Lafayette. For more information call (337) 5933757.
Acadiana’s Publication for the Arts
artists: ASO Chamber Orchestra, M. Smolij, conductor M. Pritchard, D. Filip, cellists
Program: A.Vivaldi – Concerto for Two Cellos in G minor G. Puccini – Chrysanthemum W. Bolcom – Three Ragtimes E. Grieg – Erotic for strings P. Tchaikovsky – Souvenir de Florence
tiCKEts: www.acadianasymphony.org
heartstrings
Friday, February 14, 2014 7:30 pm Acadiana Center for the Arts
Sponsors
Dr. Gerald and Geraldine Hubbell Romantic Valentines’ Day Dinner for Two: Tapas, wine and dessert prepared specially by Tsunami.
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Leauxcal Festival
LARC To Host 33rd Annual Christmas Festival Marisa Olson
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Find holiday warmth and wonder at LARC’s annual festival fundraiser, Noël Acadien au Village, where Acadiana presents its own breathtaking version of a winter wonderland. The Christmas festival fundraiser is the largest - and arguably the most beautiful - in the state of Louisiana. The 19th century historic Cajun village is aglow with half-a-million lights that will dazzle your eye, kindle your soul, and put you in that special holiday mood you’ve been anxiously anticipating all year. After thirty-three seasons, the festival has come to represent a heartwarming, Cajun Christmas tradition that endures in the imaginations of children and parents alike. Or, bring that special someone you would like to know better, and begin your own tradition of yuletide romance. Come sip the hot cocoa, stroll through the luminous setting, and help yourself to a holiday feast for mind, body
and soul: hot, delicious food, Christmas carolers, kiddie carnival rides, holiday shopping, photos with Santa, and live entertainment every evening in Cox Pavilion. New displays this year include the Gingerbread House, LED-lighted 34 December 2013
Chapel, along with Papa Noel in a Pirogue, Tunnel of Lights, and Floating Christmas Trees on the Bayou. It’s a wonderful, joyful way to capture the Christmas spirit, while also raising money for persons with intellectual and developmental disabilities. All proceeds will directly benefit the residential, vocational, and community supports and services at LARC. Major community sponsors include LUS, Coca-Cola, Cox, The Open Door, Cargill Salt, Shannon Hardware, Farmers Merchant Bank, Brown & Brown Insurance, KLFY, Dr. Gina Liggio Maestri, Don’s Specialty Meats, Cumulus Broadcasting, Big 102.1 / Bayou 106.7, and The Daily Advertiser. You can visit the Noël Acadien au Village between 5:30-9:00 p.m. at 200 Greenleaf Drive in Lafayette. Admission is $7.00 in advance, $9.00 at the gate. Overture Magazine
Children 4 and under are free. To purchase tickets, or view the full entertainment schedule, nightly promotions, and other information, visit www.acadianvillage.org, or call (337) 981-2364. So bring your smiles, hearty appetites, good cheer - and maybe a sprig of mistletoe. It’s a Cajun Christmas, so Laissez les bons temps rouler.
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Public School Arts
LHS Chorus Program: An Artistic Community Emily Brupbacher, Photos by Nouveau Photeau
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When music teacher Holly Grefe-Andrus arrived at Lafayette High School fifteen years ago, the choral program had a grand total of thirty-five students. As she developed and improved the program, Grefe-Andrus focused on turning her choir classes into a place where students felt welcome and encouraged to grow and share their talent. In the fifteen years that she has been at LHS, GrefeAndrus has seen the chorus grow from thirty-five to three hundred. The program is stronger than ever, and offers a creative outlet to any student willing to work hard and practice. “The LHS chorus, because of its diverse population, is an ideal place to ‘find yourself,’” says Grefe-Andrus. “We do not refuse any student, regardless of ability, therefore allowing the chorus room to be a place that anyone can call ‘home.’ I want all students to have a chance to learn to love music and develop the ability to make music. Because
of the variety of music performed within these four walls, everyone will find something they love in this program.” Grefe-Andrus’ students perform at a variety of events and, under her direction, learn to master an array of music and performance skills. As part of the Lafayette Parish School System’s Performing Arts Academy, members of the chorus collaborate regularly with students who participate in the school band, as well as those in the dance and theater programs. There seems to be a real sense of community and a dedication to the arts among her students. “Students rarely drop out of the program...there’s been phenomenal growth, and the students show a great deal of loyalty and devotion to our program,” says Grefe-Andrus. Grefe-Andrus sets high standards for her students, noting, “Our curriculum involves the basics of music, vocal skill development, working with a large group of peers, lots of choreography for the Fall Show, competition within the state and out of state, public performances, and working with younger students to involve them in the fun side of music.” While regular choir classes are open to all who want to join, Grefe-Andrus also directs two traveling choirs, which are more exclusive. Students must pass a rigorous audition in order to participate. “Placement in these groups is dependent on vocal quality, technique, accuracy of pitch and rhythm, and sight-reading ability,” Grefe-Andrus says. Whether students join the traveling choir, or just attend
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one of Grefe-Andrus’ music classes, they receive ample opportunity to perform. “We participate in District, State, and Regional Honor Choirs, as well as the Fall Pop Music Extravaganza, which consists of seven shows,” Grefe-Andrus explains. “We have an annual Christmas concert that we put on for our community and we also take part in the National Heritage Festival.” The LHS Chorus is built on a foundation of hard work, collaboration, and passion. It’s grown into an artistic community where students connect to create something that will stay with them for a lifetime. “I see
how much the students who participate in the arts develop in their appreciation for the arts in general and for the educational collaboration between teacher and learner. The responsibility they must assume where each person plays an integral role to group success becomes clearer as they mature. The acceptance of individual responsibility becomes part of his work ethic for the rest of his life.” Grefe-Andrus’ main goal for the LHS Chorus program is to encourage students to appreciate music and find a place where their passion for the arts can flourish. “I would hope that my students leave with a love and understanding of all types of music, and that they have enough musical skills to be able to join community and church choirs and continue their performing options throughout their lives,” she says. “So many of them want to become music teachers, or to stay involved in the musical education of young people in some way. That is a lofty goal, one that makes me so proud.”
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December 2013 37
Leauxcal Students
Music From The Heart
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Emily Brupbacher, Photos by Nouveau Photeau
Eliza Grace Gothreaux is a sixth grader at Academy of the Sacred Heart who gives her heart freely to all things creative. “I’ve been taking piano for five years now, in addition to my singing lessons,” she says. “I also love drawing and writing stories.” However, it’s music—and singing in particular—that really has Eliza’s heart. “I truly love everything about singing. I love the challenge of learning new songs, getting to share my voice with others, or just having fun singing the song.” And while Eliza is in many ways a typical middle school student—one who laughs easily, loves music, and has a vibrant, infectious sense of energy—she is atypical in quite a few ways. The talented young vocalist has a work ethic and a sense of confidence that is refreshing and usual for an eleven-year-old. “I want to get better and one day become a big singer. I practice every day. If you want to be a good singer or musician, you have to work hard,” she insists. “And if someone tells you that you’re not good, you shouldn’t listen to them, because you might be amazing, but because of that one comment you stopped.”
saying she had asked the principal of her school to sing the National Anthem at her school assembly. She had never sung in public before, but she got up there and rocked the crowd of about 300 parents and students!” Gregg recalls. It’s exactly that kind of take-charge attitude and confidence on stage that make Eliza a young talent to be reckoned with. “I still get nervous when I perform, but I just push it aside and change it from nerves to excitement,” Eliza says. And like any good artist or performer, Eliza knows that hard work and a willingness to change are the only way forward. “I used to be a small, squeaky-voiced kid, and I have changed very much since then. Overall, I have improved. I had to practice and work much harder on my singing and learn breathing and sound techniques. I’m still working on it, but I think I’ve
Eliza’s parents, Gregg and Alisa, play a big part in her remaining so grounded while striving for big dreams. “It’s important to balance work and play. For any parent of a child with big dreams, you have to remember that the odds are against a career in something like sports or entertainment. So just try to have fun and see where it leads,” says Alisa. The Gothreauxs encourage both of their children (older son Connor is 13) to be diligent and work hard at whatever they pursue. “As parents, we try to help and encourage our kids by demonstrating the desire to be excellent,” says Gregg. When asked if there was a moment that she recognized true vocal talent in her youngest child, Alisa jokes, “I heard Eliza yelling at a football game, and I heard what those lungs could do. I thought we might harness that energy with music.” Both parents encouraged their daughter’s passion for music by supporting her desire for piano and voice lessons. “Shortly after beginning voice lessons, Eliza surprised us by 38 December 2013
learned a lot to help my singing overall.” Eliza also expresses sincere gratitude when she thinks about the support and advice she has received from her teachers. She takes singing lessons on a regular basis with Dolly Hawthorne, and loves the challenge and inspiration that Hawthorne provides as an instructor. “She’s a successful Overture Magazine
singer and has accomplished great things—she’s worked as a vocalist in New York, and she always inspires me to be great like her.” Hawthorne also knows exactly how to push students in the right way, according to Eliza. “She teaches me things other teachers don’t, and she’s made me the singer I am today. I know that she will help me become a much better singer in the future.” Eliza also takes piano lessons with Nancy Simon. “She has learned through these lessons that talent can be improved and hard work is the route to success,” Alisa says. “The things she is learning with these instructors will stick with her, and her life will be forever changed and enhanced.” While Eliza may have poise and a sense of self-awareness that is rare for her age, she is still an eleven-year-old at heart who loves to play music with her cousins or friends, and adores the singer Adele. “Adele has a certain quality about her that makes her loved, and no matter how long the song is, nobody ever gets bored. I love performing her song Skyfall, because I am able to mix my piano skills and my singing skills into one, so I can both sing and play the song.” Eliza is also looking forward to her school’s production of Beauty & Beast, Jr.” later this year – she will play the part of Cogsworth. With a respectable work ethic, a supportive unit of family, friends, and teachers behind her, and an array of talent to share, Eliza Grace Gothreaux is sure to be a name you hear more of in the future.
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December 2013 39
Private School Arts
Art Comes Alive at Ascension Episcopal School Emily Brupbacher
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Ascension Episcopal School serves grades PreK3 - 12 across three campuses: River Ranch, which houses grades PreK3 - Kindergarten; Downtown Lafayette for grades 1-7; and Sugar Mill Pond in Youngsville for grades 8-12. One major artistic channel offered to Ascension students is the opportunity to express themselves through music. At the River Ranch campus, students attend music class daily. Music instructor Melissa Stevenson says, “There is always something fun going on in the music room. We could be playing rhythm instruments like drums, sticks, maracas, and bells, practicing our singing with a microphone, marching to the beat, or playing one of our favorite musical games on the iPad.” Music is alive on the Downtown campus as well, as students of all ages learn music and performance skills by participating in various musicals. Whether it’s the First Grade’s “Songs from Around the World” musical, or the Fourth Grade’s production of “Christmas on the Street,” music instructors Doylene Poimbeouf and Colleen Supple help students combine drama, music, and dance to entertain and educate audiences. Students are also encouraged to showcase their musical talent in daily chapel services by playing musical instruments, or by singing to lead their fellow students in worship.
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One of the high points for Ascension’s Middle School Choir is their annual collaborative performance with Chorale Acadienne, which will be held this year on December 3 and 6 at 7:30 p.m., at the Cathedral of Saint John the Evangelist. AES Choir Director Rusty Roden prepares the group of 45 children from grades 5-7 for this performance. Another holiday highlight is the annual Christmas
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The freedom to experiment is what makes art so exciting to our students.” Tina Frederick
concert held at the Episcopal Church of the Ascension, where the Middle School and students of the Ascension Boys and Girls choirs perform Christmas carols and traditional sacred music. Ascension’s much anticipated annual musical will be “Seussical, the Musical, Jr.,” also
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Masterwork no.4
Acadiana’s Publication for the Arts
Jennifer Welch-Babidge, soprano ASO Youth Orchestra, ASO Chorus
PrograM:
G. Holst – Christmas Day G.F. Handel – Messiah (excerpts) W.A. Mozart – Exultate Jubilate C. Saint Saëns – Dance Bacchanal from Samson & Delilah Traditional holiday favorites
I’ll be home for
under Roden’s direction. The Sugar Mill Pond music program run by Tom Lyles provides students with a wide variety of music opportunities to experiment and grow as musicians. Whether it’s the annual Homecoming concert, which features contemporary songs set to custom music videos or animations made by students in the visual art and photography class, or the Christmas concert, which features more traditional worship music, students will find something that suits their music tastes. “It’s a modern music curriculum with a pseudo-Montessori approach— students have a good deal of input on what they perform,” Lyles says. Visual arts are also well-represented at Ascension. All students develop an appreciation for art and learn about art history. Danielle Bienvenue’s Kindergarten classes recently combined art and technology to study Pablo Picasso by visiting the website www.mrpicassohead.com and learning about abstract art. At the Downtown campus, Tina Frederick builds excitement for the arts among her 1st-7th grade students. “Our art classes are built around the principles and elements of design,” Frederick says. “I love to let students experiment with a wide variety of media, including paint, paper, clay, sewing, papier mache, weaving, and sculpture. The freedom to experiment is what makes art so exciting to our students.” The students also participate in community projects, and currently have a large paper mosaic on display at the Acadiana Center for the Arts. On the Sugar Mill Pond campus, art teachers embrace the school’s 1:1 iPad Initiative by combining technological and traditional art media. Jeni Guidry’s students do a little of everything, including murals, linoleum blocks carved and painted with ink, and an iPad movie that illustrates the principles and elements of design. Students learn to appreciate their own work as well as the work of their fellow students. Gerald Sierveld guides his students through photography and the Fine Arts Survey to elicit classroom discussion on the deeper meaning of art in everyday life. For more information about the arts at Ascension Episcopal School, or for further details about upcoming concerts, visit www.aesgators.org.
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guest artist:
Thursday, December 19, 2013 /// 6:30 pm Heymann Performing Arts Center Sponsors Cherie and Ralph Kraft
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Guilloché: The Ancient and Rare Artistry of Master Craftsman, Vivian Alexander By Marisa Olson
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December 2013 43
Flamboyant publishing tycoon and philanthropist, Malcolm Forbes, was perhaps the world’s most avid collector of the fabled Russian Imperial Easter eggs crafted by the Royal House of Fabergé for the Russian Czar Nicholas. The Fabergé Imperial Eggs are among the world’s most splendid and coveted treasures, and epitomize the pinnacle of the jeweler’s art. After Forbe’s demise, his son Christopher (“Kip”) eventually had the entire Fabergé collection, including the nine exquisitely crafted Imperial Eggs in his father’s collection, auctioned by Sotheby’s to the tune of $5 to $20 million each to a Russian billionaire. Although the world’s most rare jewels are in high demand by the elusive and exclusive appreciators of fine art, even rarer than the Fabergé Eggs themselves are the craftsmen capable of creating them.
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After the final works of art were presented to the Forbes family for inspection and approval, Caldwell donated the first Vivian Alexander replicas to the Forbes family collection. Henceforth, the selected Fabergé Eggs designed Malcolm Forbes and replicated by Caldwell and his artisans became known as the “Forbes Collection.” Caldwell’s enameling work is now hailed by Kip Forbes to be the finest in the United States. When Vivian Alexander replicated the Fabergé Imperial Coronation Egg, Caldwell grabbed international attention. Ever since, the world’s most elite and discriminating art collectors have kept Caldwell and his rare artistry under their careful watch.
Ability will never catch up with the demand for it.”
Enter Alexander Caldwell, founder and president of Vivian Alexander, the only company that replicates the famous Fabergé Imperial Russian Easter Eggs. Caldwell founded his company about 30 years ago, and its base of operations lies in Maurice, the heart of Acadiana. In 1997, Caldwell and his entourage of top modelers and sculptors were invited to the Forbes Gallery in New York. As trendsetters in modern reproductions of Fabergé-inspired eggs, they observed, measured and photographed the original Fabergé
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eggs from the Forbes Magazine Collection. For seven years, Caldwell worked with the Forbes Museum curator in New York to master the ancient art of enameling and the use of guilloché on precious metals, in order to replicate in exact detail the Imperial Fabergé Eggs. Never before had any original Fabergé collection in the world allowed copying of their objects. Caldwell’s access was unprecedented.
Today, Vivian Alexander is the only online retailer of elegant handmade evening purses made in the United States that uses Faberge’s guilloché and enameling techniques. Through Vivian Alexander, Caldwell has sold carefully designed eggs to Neiman Marcus and Harrods in London. Says Caldwell: “There’s nothing
Overture Magazine
appointment. The Forbes family is not alone in its admiration of the great master craftsman: Museum curators and Hollywood elite are also dazzled, and have vied to possess, his stunning creations. Warner Brothers asked Caldwell to replicate two gold Fabergé Imperial Coronation eggs for its 2004 movie “Ocean’s Twelve,” starring George Clooney and Brad Pitt. Caldwell also made a ruby-red radiating egg for a Smirnoff vodka commercial that aired in Europe. In it, his Fabergé Egg conceals a vodka bottle while the narrator asks, “Which treasured Russian luxury was nearly lost forever in the Bolshevik revolution?” remotely like this anywhere . . . over the years, I have had many, many women tell me when they carry a Vivian Alexander purse into a function, when they walk in the door, everybody knows they’re there.” Caldwell is one of few artisans in the world expertly knowledgeable in the ancient, highly-skilled, and specialized technique of guilloché, which engraves fine, elaborate and nearly microscopic reflective patterns into metal pieces to achieve a radiant brilliance. Translucent enamel is then overlaid onto the piece, magnifying the brilliance of the faceted metal work: a technique perfected by the illustrious House of Faberge’. After 25 years of studying Fabergé and his techniques, Caldwell was inspired to design his own original creations with a distinct recognizable look and feel.
In October 14, 2012 – January 21, 2013, the Detroit Museum of Art held the exhibit, Fabergé: The Rise and Fall, in which more than 200 precious objects from the Virginia Museum of Fine Arts, home of the largest collection of Fabergé in the United States, were placed on exhibit. Included was the Warner Brothers Imperial Coronation Egg created by Vivian Alexander. The egg was designed to represent the gold coronation robes worn by Nicholas and Alexandra, and was presented by the Czar to his Czaritsa on the Easter following the occasion. The egg on display was made from a rhea egg shell, the same size
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Vivian Alexander designs are created in limited editions, copyrighted, numbered, and exclusive to Vivian Alexander. Caldwell personally trains the artisans who apprentice for a full year before allowed to begin the exacting task of creating these one-of-akind treasures. Caldwell personally guides the creative process and selects only the best pieces to carry the Vivian Alexander logo. To further the desire for perfection, each artisan has a unique, registered hallmark that is added at completion, but only after Caldwell approves the final outcome. The first purses made by Vivian Alexander were created with ostrich egg shell, which led Caldwell to produce sculptures along the lines of the famous Fabergé Imperial Russian Easter Eggs. Today his elite purse creations are made of pure, engine-turned silver and enamel. The designs range from classical to abstract, are executed using gemstones and crystals, and often embellished with Louisiana alligator skin. A lavish use of multi-colored enamel make these evening purses a stunning foil for the most sophisticated evening wear. In addition to custom-designed evening purses, the extensive Vivian Alexander egg sculpture collection now includes specialty items like elaborate clocks, delicate pillboxes, and richly-crafted Christmas, Mardi Gras and Easter ornaments. Each objet d’arte is housed in the Vivian Alexander Gallery & Museum in Maurice, where the discerning public may visit free of charge and by Acadiana’s Publication for the Arts
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and shape as the Fabergé original. Caldwell’s interpretation used strands of gold thread in a sunburst pattern centered in each of the cloisons formed by the raised gold laurel leaf pattern. Thread was used for the pattern instead of the guilloché work originally used by Fabergé because of the delicate nature of an egg shell, contrasted to the solid gold of the original. A multi-layered enamel in translucent gold was applied to the egg shell using an enameling process that Caldwell developed, which emulated the fired enamel used and perfected by Fabergé on his Imperial Eggs. Building on techniques established over centuries, Fabergé developed over 140 shades of enamel; however, Caldwell now has in his studio over 400 iterations of enamel, shades, and variations unheard of just a few years ago.
resurrection
Saturday, March 15, 2014 /// 6:00 pm Heymann Performing Arts Center
The world’s most illustrious collectors and appreciators of the fine, rare art of guilloche’ have found in Alexander Caldwell, and in his company Vivian Alexander, the last bearer of an almost forgotten, ancient craft. And we in Acadiana possess a dear, priceless treasure in Caldwell, who keeps the art of guilloché from becoming forever lost, preserves the legacy of Faberge’, and bestows on us his own remarkable, unparalleled creations. Alexander Caldwell is a civil engineering graduate from the Louisiana State University, and spent 30 years building highways across Louisiana. In 1991, he traded in a life of cement and gravel for goose eggs and gold leaf, when he and his muse and soul mate, Vivian Tullos, began creating the now famous decorated egg Christmas ornaments, setting the foundation for what has become Vivian Alexander.
guest artists: With joint orchestras of ASO and Baton Rouge Symphony, ASO Chorus and BRSO Chorus
Lovers and connoisseurs of fine, jeweled art, and intricate, Swiss-style craftsmanship are invited to visit the Vivian Alexander Gallery & Museum in Maurice, where they will be delighted by the world-famous egg purses and other elegant objects d’art on display in the little museum on the bayou. Take a free tour of the gallery, which is located in a laid back, country setting. Please call in advance to reserve your tour. Museum hours are Wednesday through Saturday, 10:00 a.m. to 4:00 p.m. For more information, call (337) 898-0803, or visit http://www.vivianalexander.com. Open daily by reservation, free admission, eight per group max. Call ahead.
PrograM: G. Mahler – Symphony No. 2 in C minor, “Resurrection”
tiCkets: www.acadianasymphony.org Sponsors
Masterwork no.5 46 December 2013
Overture Magazine
ADVERTORIAL
SIDES & Associates is Full of Surprises SIDES & Associates is the only local agency elected to membership in the American Association of Advertising Agencies. And they are a lot more than an advertising agency. Businesses turn to SIDES for a wide range of services beyond those provided by advertising and public relations firms. SIDES has successfully developed and implemented brand identities for over 100 organizations, big and small. And organizations are just as likely to call on SIDES for project management, contract negotiations, crisis planning or policy development as they are for TV and film production, print or web design, media campaigns or social media management.
SIDES’ robust design and creative capabilities are recognized in national and international juried competitions, winning more than 400 awards for client creative. Over the years, the agency’s work has been recognized in the New York Times as “Best in the U.S.” and honored for the Best Corporate Identity Campaign in the country. A SIDES computer industry award topped work done for IBM in the finals. A SIDES crisis management project received its Final Four award at a National Press Club ceremony. Wherever people and organizations need to talk to each other, SIDES can facilitate that exchange. It sees great advertising, marketing, public relations and outreach as a combination of solid strategic thinking, outstanding messaging and strong creative design that supports the goal of the work. Characteristics of the agency’s work often include bold use of color and striking visuals in addition to
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strong positioning. According to agency head Larry Sides, “A message won’t be communicated unless the person on the receiving end is engaged. There are numerous failed campaigns where the creative approach was memorable but the alignment with the product or service was missing, whether that was a freaky king selling hamburgers or a tiny dog in a Mexican fast food ad. We produce work that is both strategic and creative.” When people remember an ad but don’t remember the product or service, it’s safe to say that the ad wasn’t produced by SIDES.
SIDES & Associates provides a core staff of 14, balanced between talented creative staff, business professionals and senior executives with experience in television news, government, corporate sales and even sensitive work from inside the Pentagon. Employees have directed focus groups in over a dozen U.S. cities, coordinated Congressional presentations and managed staffs from ten to over 1,000. On any day, there are more agency employees working fulltime inside client operations than their office in downtown Lafayette. Through unique expertise SIDES has developed over the past eight years, an agency employee may just as likely be working on a project for Washington, DC, or New York as in Lafayette or Baton Rouge.
December 2013 47
The Big Little Voice of Aulander S o p r a n o J e n n i f e r We l c h - B a b i d g e By Marisa Olson The incandescent purity of a very young singing voice, though reedy and delicate, is unrefracted by ego, undistorted by self-consciousness, and shines without limelight. Its naïve, dulcet timbre is magnified by a simplicity that delivers power straight to the listener’s heart. Jennifer Welch-Babidge’s voice has been a source of inspiration and consolation since she was three years old, when she first stood before the members of her church’s congregation in the rural town of Aulander, North Carolina. Faith and hard work are the cornerstone virtues of Aulander, which was then, and is still, a farming community of about one thousand. Its roots reach back into North Carolina’s first days as a colony, when it was little more than a meeting house at the crossroads, bordered by roughlyhewn, meandering homesteads. Neither of Jenny’s parents were trained in or exposed to classical music. Her father raised tobacco, and her mother played piano for their church. Jennifer grew up hearing her mother sing while busying herself about the house, and she tagged along with her to church for rehearsals and choir practice. To her mother’s delight, Jennifer’s melodic babbling and squeaks gradually developed into fluid, recognizable cadences. The toddler’s singing grew ceaseless and fluent, whether at home or in the sanctuary, in front of anyone she knew – or didn’t know. Singing was not her second but first nature. Mrs. Welch knew her toddler was graced with a gift, and that the gift was intended to be shared, so she began preparing Jennifer at home for her first Sunday service performance. When the three-year-old was brought before the congregation, she sang to everyone’s amazement. Although a joyful occasion, church singing was not viewed as mere entertainment, nor an occasion to showcase, but a call to worship. By singing before the church congregation during her earliest formative years, Jennifer developed a profound and intimate connection with its members that shaped her core identity. Jennifer was therefore regarded less as a prodigy than as a beloved presence through 48 December 2013
whom suffering was ameliorated and joy increased. The gift transcended mere child’s singing, and was regarded as a vehicle for redemption and unity for the entire congregation. When she was eight years old Jennifer was approached after church by a grieving couple who asked her to sing at the funeral of their three-yearold daughter. By that time, she had been singing before her congregation for five years. Her parents did not decide for her, but gave her the choice: Did she want to do this? Jennifer accepted without hesitation. A compassionate child, she somehow understood the parents’ need for comfort through her voice – a child’s voice. Lost in the maze of their grief, the couple commended their sorrow to the catharsis of lamentation. For a moment, their anguish was pierced by the outpouring of a little girl’s voice. Today, the internationally-acclaimed operatic star Jennifer Welch-Babidge still holds dear the memory of this mourning couple, and the momentary comfort that she, as a child, was able to give them. As Jennifer grew, the community of Aulander realized that the enormity of her talent eventually would lead her away from them, but toward greater realization of her gift. While in high school, she auditioned for and was accepted to the North Carolina School of the Arts in Winston-Salem. Overture Magazine
Lafayette ~ New Orleans ~ Houston www.preisroy.com Charles J. Boudreaux, Jr. Shareholder Acadiana’s Publication for the Arts
December 2013 49
Upon graduation from the NCSA with her master’s in vocal performance, Jennifer then auditioned for and was accepted at the New York Metropolitan Opera’s Lindemann Young Artist Development Program, which has produced some of the world’s best known operatic stars. In the three-year program, she received specialized training in music, language, drama, and movement, and was afforded performance opportunities. In her first year, she made her Metropolitan Opera debut as Barbarina in Wolfgang Amadeus Mozart’s Le nozze di Figaro. Door after door of opportunity swung open for the young soprano, until she had at last scaled the ultimate height. Upon graduating from the Metropolitan Opera’s program, Jennifer met and fell in love with a handsome baritone, Darrell Babidge, whom she married in 2000. They remained in New York while Jennifer continued performing. The pure and powerful beauty of her voice has captured Welch-Babidge acclaim across the globe. During her career, she has performed at such famous venues as New York City Opera, Carnegie Hall with the Metropolitan Chamber Ensemble, and given numerous performances in illustrious operatic roles with the Metropolitan Opera, including Adele in Die Fledermaus, Valencienne in The Merry Widow, Chloe in The Queen of Spades, and Freia in Das Rheingold. As she balances her busy operatic career while raising five children, Welch-
Babidge has never forgotten her roots, at heart remaining the girl with the big little voice of her country church. Her voice now beckons other children, calling them toward luminous possibilities of self-discovery and expression through singing. Although her own singing has been lauded as “ravishing,” “agile,” with a “lavish bloom and a silvery edge,” the compliments which most touch and humble Welch-Babidge come from the children for whom she performs educational outreach at schools across the country. Most have never heard the awesome power of operatic singing, and when Welch-Babidge sings to them, she elicits extreme surprise, usually screams of delight or awestruck silence. A school gymnasium crowded with hundreds of children: This is Welch-Babidge’s favorite venue. Singing before these young, impressionable congregants, she again becomes the little girl from Aulander, establishing bonds with her new church of children. For Jennifer, this is the true fulfillment of her gift. Soprano Jennifer Welch-Babidge will perform with the Acadiana Symphony Orchestra for its annual Christmas concert on Thursday, December 19, 2013, 6:30 p.m. at the Heymann Performing Arts Center. For more information about the concert, please contact: 337. 232.4277, or visit www.acadianasymphony.org. For more information regarding Welch-Babidge, please visit her website: jenniferwelchbabidge.com.
7 CHICS
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50 December 2013
Overture Magazine
John Casbon: Musician, First and Foremost
By Johanna B. Divine Photo by Lucius A. Fontenot
Acadiana’s Publication for the Arts
December 2013 51
Imagine a world where people don’t have to choose between being creative and making a living; where there’s no such thing as a “starving artist;” where an executive can be equally at home on stage and in the office.
take me hours to meet everyone, but if I get on stage and start playing, people know me in 10 minutes. There’s an openness in performing; people see a new side of you and they get interested. When I go on stage at a company event, I introduce myself by saying “Hi, I’m John Casbon and I’m a musician.” You wouldn’t believe how many people come up to me afterwards and say, “I’m a singer,” or “I’m a guitar player.” Music really brings people out and gets conversation flowing.
John Casbon has created that world right down the road in New Orleans, and he’s loving every minute of it. Executive Vice President of First American Title of LA, Inc. and CEO and President of First American Insurance Company, Casbon is not your typical Fortune 500 executive. Many know him as a successful businessman, community leader and As a businessman, I mentor a lot of young professionals. philanthropist, but when introducing himself to a roomful One of my mantras in mentoring is, “It’s your story that of fellow execs, Casbon defines himself, first and foremost, makes you successful.” We all have a story, and your story as a musician. needs to be interesting, fascinating. It’s how you stand apart from other people. It’s the core of who you are, the passion Overture Magazine (OM): When did you begin playing you have about what you do and the thing that drives you music? to succeed. My dad was a barber. If I had money as a kid it John Casbon (JC): I’ve been around it my whole life. When was because I picked up bottles on the beach and swept hair off the floor. That’s my beginning; that’s my story. In both I was a kid, I was involved in a music store in Cocoa Beach, Florida called Yanni’s Music. As a young person, you become business and music I’ve put in thousands of hours and an immense amount of energy. I’ve learned, through both, curious; I started doing bridge work on violins when I was to push myself even harder than I thought I could. To me, only eight years old. I played trumpet and coronet for a music and business are both part of my story. The two go while. As I grew up, I turned out to be a fairly big guy, so sports became my focus and I left the music alone for a good hand-in-hand. while. It wasn’t until much later when I was opening an office OM: Do you perform often? What are your most memorable in Jackson, Mississippi that I stopped into a music store in performances? New Orleans and bought a harmonica. I got in the car and turned on the Rolling Stones and just started playing along. JC: Live music is the way to go. It was live music that By the time I got to Jackson I had played every song on the connected us after 9/11, Katrina and Sandy. Those concerts tape! It literally just burst out of me. Two weeks later I played brought people together more quickly and effectively than on stage in Las Vegas and I wasn’t afraid at all. It’s the thrill almost anything else. I love performing and watching of music—the joy of listening, learning and playing. other musicians perform—I take it seriously and try to put everything I have into it. One of my bands—Hot Rod OM: What are your musical influences? Lincoln—was formed about forty years ago by a group of developers and businessmen, all professionals who just JC: There are so many—the Rolling Stones, Neil Young, happen to be incredible musicians. We play vintage rock Tom Petty, Alice Cooper. I got to have dinner with Alice ‘n’ roll every year at French Quarter Festival and get a huge Cooper one night. Imagine a 60-year-old man in spandex! crowd. I think people identify with us because they know us What a great performer; what a fun evening. in the business community as leaders and people who care OM: How do you balance your persona as an executive and a about the city. The bridge between business and music is musician? real—you never know where it will take you and you never know how far you can go. JC: I promote the fact that I’m a musician. In my company, I talk about it, talk about playing and performing, let people My most memorable performances are probably Jazz know that it’s a big part of who I am. Think about it this Fest and playing with a blues band at Donald Trump’s way: If I’m in a room of four hundred people, it would
52 December 2013
Overture Magazine
Photo by Lucius A. Fontenot
mansion. That was an amazing high, but, in truth, being on Royal Street and just picking up with somebody is equally incredible! I always carry one or two harmonicas with me and the people I work (and play) with know I have them, so even when I’m at a board of directors’ retreat I’ll get asked to play. There’s nothing like being in the moment that way. OM: What would you say to someone trying to build that bridge between business and art? JC: I challenge people to express what’s inside of them. If you have a passion for an instrument or other art form, you feel it in your soul. It takes time to get up there and feel good about what you’re expressing, but you are so driven to do it and that you have to follow that drive. I’ve been playing almost twenty years, but it’s just in the last six or seven that I’ve been confident enough to get on stage at Jazz Fest and play with really seasoned musicians. And by the time I’m up there, it’s too late to be afraid! With any creative endeavor, you’ve just got to roll, you’ve got to go and do it. I like that kind of pressure, and I encourage people to push themselves in that way. It’s how we begin to know what we’re made of, what we can really accomplish in life. OM: In addition to your role as businessman and musician, you founded the New Orleans Police Foundation and continue to support many community and statewide organizations. What drives your work toward positive change
Acadiana’s Publication for the Arts
in Louisiana? JC: I’m not from Louisiana; I’m originally a Florida guy. When I was young and doing business in the south, New Orleans was one of my potential work options. At 25, my wife and I moved to the Marie Antoinette hotel. We knew nothing about the city, but before you know it we were eating the best food in the world and listening to world-class music every night. A place like this, with this kind of culture, gets into your blood and into your heart. Louisiana is not a place I could ever turn away from. This state—these people— have been so kind to me. Louisiana is home to some of the finest artists and business leaders in the world, and it’s truly amazing to think that in the face of hurricanes, oil spills and an economic downturn we are still going strong. I believe we are all in this together. When I think about what drives me, I guess it’s my commitment to asking, “How can I be a part of making things better?” John Casbon continues to reach his goal of making Louisiana better through his business, music and philanthropic activities. He serves on the board of IBERIABANK and is invested in communities around the state including Lafayette, Baton Rouge and New Orleans. John performs regularly with his bands Hot Rod Lincoln, Street Talk and the Levee Dogs in Louisiana and internationally.
December 2013 53
Community Seauxcial
March of Dimes Signature Chefs Auction October 24, 2013 The March of Dimes Diamonds & Pearls 75th Anniversary was celebrated at their Signature Chefs Auction. Supporters experienced some of Lafayette’s most delectable dishes prepared by the March of Dimes local signature chefs along with a live and silent auction. All proceeds raised go the March of Dimes, whose mission is to improve the health of babies by preventing birth defects, premature birth and infant mortality.
54 December 2013
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December 2013 55
Standing Ovation
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For more information on how community partners are working together to support students in Acadiana, visit www.Unitedwayofacadiana.org. Stay in tuned! Get involved! Make a difference! Mission of United Way of Acadiana: Unite people and organizations with passion, expertise and resources to create more opportunities for a better life. 56 December 2013
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December 2013 57
Symphony Seauxcial
ASO Maestro Circle—Legacy of the Atchafalaya October 19, 2013
Photos by Kevin Ste. Marie
The October 19 Maestro Circle reception was delightful! ASO paid special tribute to patrons Bob and Judy Dunn and fêted dignitaries of the Evangeline Area Boy Scouts as well as guest composer Glenn McClure. Guests were treated to an impromptu performance by the GRAMMY winning Harlem Quartet, the guest artists, and enjoyed culinary fare by Chef Gregory. A splendid time was had by all!
Disney’s Fantasia VIP Party for Children November 9, 2013
Photos by Lucius A. Fontenot
The Heymann Center mezzanine was buzzing with excitement. More than 40 young Disney fans and their families joined ASO for a pre-concert party with beloved characters, live music performed by princesses, face painting and cookies and milk. Most of the little ones arrived in their best costumes and took photos with the famous “Wizard” while listening to favorite Disney tunes. Best of all, more than 20 costumed children joined Pocahontas onstage to introduce the show!
58 December 2013
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Discovering who you are is part of every life’s journey
Girls, PreK3 - 12
Boys, PreK3 - 11
Two SchoolS - one campuS
A Journey where students.. find their Passion develop a love of Learning become effective and compassionate Leaders
Wednesday Walkabouts Every Wednesday in February, 9-11am or call for your private tour today
Begin your Journey in Grand Coteau Acadiana’s choice for Single-Gender education Catholic - Independent School
337.662.5275
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SSH accepts qualified students of all races, religions, national and ethnic origins. Acadiana’s Publication for the Arts
December 2013 59
60 December 2013
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