Overture november 2013

November 2013

The Art

of the

Dance Acadiana’s Publication for the Arts

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features

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CONCERT FEATURE Disney’s Fantasia as you’ve never experienced before – a glorious union of live music and vivid animation.

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MIGHTY HEART OF LILLY DEJEAN Never underestimate how much power can be packed in a small punch.

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A THEORY OF PRACTICE & EXCELLENCE The man behind the scenes at ASO & COM: Emil Ivanov talks about consistency, music, and life.

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BALLET: AN AESTHETIC ART The art of ballet – onstage, backstage, as a way of life.

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THE NUTCRACKER A holiday tradition with a mission.

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STUDENT DANCERS TAKE THE LEAD Rising local dance stars to keep your eye on.

LIFE IN MOTION She was born to dance…clog, tap, swing, and so much more.

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THE POWER OF THE WORD The revival of a high school marching band and renewed hope for musicians of the future.

on the cover

Het Nationale Ballet, Campaign image, 2011 Internationally-renowned Dutch photographer, Erwin Olaf, created the extraordinary image featured on this month’s cover of Overture. In 2011, the photograph served as the official campaign image for the Dutch National Ballet’s 50th season. Olaf also has been commissioned to photograph advertising campaigns for international companies such as Levi’s, Microsoft and Nokia. His work is exhibited in galleries and museums throughout the world, including Utrecht, New York, London, Paris and Madrid. Olaf lives and works in Amsterdam Overture expresses its gratitude to Olaf for permission to print this masterful photo.

For more about Olaf and his work, please visit erwinolaf.com.

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MAKE TONIGHT MEMORABLE. P L AY T O H E R H E A RT.

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November 2013

contents 8 OPENING NOTES Jenny Krueger, Executive Director 10 FANFARE Mariusz Smolij, Music Director & Conductor

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12 GUEST COLUMN Joey Durel, City-Parish President, Lafayette Parish, Louisiana 20 A TUNEFUL RETURN ON INVESTMENT Conservatory or Music Scholarship 28 CREATIVITY EVERYWHERE Architecture for Downtown 33 BENEATH THE BALCONIES Iberia Preservation Alliance & New Iberia Main Street Program 34 PUBLIC SCHOOL ARTS EDUCATION Arts & Technology Academy at J. Wallace James Elementary 38 PRIVATE SCHOOL ARTS EDUCATION Academy of the Sacred Heart 46 LUXURY RESIDENCE AT SEA The World

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48 CHORALE ACADIENNE 35th Season Continues 50 GOURMET TO GO Chef Gregory 52 COMMUNITY SEAUXCIAL HIGHLIGHTS Tinsel & Treasure Santa’s Soiree 54 COMMUNITY SEAUXCIAL HIGHLIGHTS Dancing with the Stars

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56 STANDING OVATION Contributors to the Arts in Acadiana 58 SYMPHONY SEAUXCIAL HIGHLIGHTS Bridget Kibbey Concert 6 November 2013

Overture Magazine

November 2013 Vol. 1, No. 3

PUBLISHED BY

EDITOR Jenny Krueger jenny@acadianasymphony.org

PROJECT MANAGER Rebecca Doucet rebecca@acadianasymphony.org

WRITERS Emily Brupbacher Johanna B. Divine 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 Joey Durel, Cathy Indest Nathan Norris, 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

The Eyes Of A Child Jenny Krueger, Executive Director

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I have been a teacher for a long time, and will be a student of children for life. I have tremendous respect for children, and am grateful for their impact on my life. Their version of the world is inspiring and often eye-opening. As you read November’s issue of Overture, I hope that you are inspired, too.

You will learn that through the world of arts instruction, whether in dance, music, or art, lifelong lessons and friendships are formed.

You will read how teachers like Cissy Whipp of JW James Academy, Shannon Heath of Lafayette Ballet, and Emil Ivanov with ASO’s Conservatory of While we try to teach our children Music, push their students to find the all about life, our children teach us best in themselves, and how one little what life is all about. lady named Lillian DeJean inspires her Angela Schwindt teacher, Bonnie Camos, and all of us, to be better, do more, and be grateful for all we have.

Take a sneak peek into the world of Disney’s Fantasia, and listen to the new ideas and plans community leaders like Nathan Norris, with Downtown Development Authority, have created to preserve our community and all its artistry for generations to come.

I hope the November issue of Overture will inspire you to take the hand of a child and see the world through their eyes, even if only for a moment.

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Fanfare

Fantasia – Music Always Tells a Story Mariusz Smolij, Music Director and Conductor

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Some of us tend to believe that there are two kinds of music: one programmatic (connected to a story, lyrics, or a subject) and the other one abstract (not connected to any external reality or narration). I have been always a strong believer that all music, on one level or another, always tells a story. Disney’s Fantasia is a perfect example confirming this concept.

In this movie, the Disney’s artists created a beautiful visualization of stories told with music by some of the world’s greatest composers. In some cases, the action of the movie exactly follows the story which inspired the composers in the first place. Paul Dukas’ composition, The Sorcerers’ Apprentice, based on Goethe’s writings, is one such example. We see Mickey Mouse playing the role of the apprentice and casting the magic spell, both on the brooms carrying buckets of water as well as on the imagination of generations of viewers.

On the other hand, we see how the “abstract” music of the first movement of Beethoven’s Symphony No. 5 is used by the animators to dramatize the classic struggle between good and evil. This is represented by variety of colorful shapes. These designs were created by a combination of a unique pastel style of animation and computer-generated effects. We see the clash of positive and negative forces through images of light through a darkened sky. Light is emitted in splashes, rays, and shafts, illuminating dark caverns in the night sky.

describing a completely different adventure.

Respighi’s symphonic composition Pines of Rome was influenced by images of different parts of the ancient city. Because the music has so much energy, color, and flair, it was used in Fantasia to co-narrate the story of a family of humpback whales who discover the joys of flight in response to the bright light from a supernova. They jump to the icy water, inviting their entire pod of whales to share their fun. They then take to the sky to soar through assorted cloudscapes and other fantasies, breaching through to a surprise ending.

For the Disney animators, this was an exciting flight of the imagination. There is no limit to what kind of flights your imagination can take while listening to almost any kind of music. The symphonic compositions, in particular, with the wonderfully wide gamut of instruments, timbres, musical colors, and rhythms are among the best vehicles for your own adventures and fantasies.

Enjoy today’s musical stories and come back for more!

Disney’s creators also took music inspired by one kind of a story and created an animation 10 November 2013

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Guest Appearance

Art Impacts Our Community

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Joey Durel, City-Parish President, Lafayette Parish

One of my greatest regrets is never learning how to play a musical instrument, particularly the piano.

When I was a child, my mother begged me to take lessons, because I enjoyed sitting down at the piano and playing songs by ear. My wife, Lynne, however, has the musical talent in our family. She played in the Lafayette High School band when they were excelling under Harry Greig. Her fondest and proudest high school memory would have to be when the LHS band was the only high school band in the nation invited to play at President Richard Nixon’s Inauguration.

I have set two goals for when I leave office: To take piano lessons (and violin/fiddle), and for Lynne and I to take art lessons together.

This is why I believe the arts have a huge impact on our economy. Businesses and people can often locate anywhere they wish, so quality of life amenities play a significant role in those choices. I have no doubt that our community support for the arts helps businesses make the decision to locate in Lafayette and Acadiana.

Many communities attempt to “create” culture, but what we have is authentic. That is what not only attracts visitors to our area, but encourages them to settle down and take root. Our shared creativity is done so through community and family. We are always willing, in fact, anxious, to share our rich culture with anyone and everyone, which I believe is the reason we are recognized for being so welcoming.

spaces into an Art Park. Maybe the Horse Farm will give us new opportunities as well! Lafayette has a responsibility to all of Acadiana to be the hub city for the region, including and especially for the arts. Let’s live it!

Since taking office, I have come to realize the many misconceptions that abound about the arts, and to appreciate the vital, central role they play in our community. As City-Parish President, I have had the Our heritage and way of life here in Lafayette and opportunity to participate in this aspect of Lafayette, Acadiana is unique, and so is our culture. What and have come to a whole new appreciation on the distinguishes us from other cities, and Acadiana impact the arts has in shaping our culture. from other regions in Louisiana and the rest of the As Lynne and I have traveled around the world country, are the arts and innovation that arise from enjoying successful cities, we have observed that those our singular mixture of cultures, which we refer to as cities enthusiastically embrace the arts. I would like “Cajun.” Without a doubt, our unique cultural blend to see more public displays of art here in Lafayette, makes us who we are through the music, dance, visual much like what the Oil Center has done, and have arts, and “food art” we create and share. had discussions about turning one of our green

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Concert Feature

Fantasia 2000 Johanna B. Divine

If you think you’ve already seen Disney’s Fantasia, think again. This month, the ASO, in partnership with Bo & Jerry Ramsay, present a special fall concert performance of Fantasia 2000, an animated feature set to classical pieces performed live by the Acadiana Symphony Orchestra.

mill slapstick cartoons and create something new—animation inspired by the music, with stunning imagery that pushed the boundaries of technical filmmaking and audience expectations. He chose “The Sorcerer’s Apprentice” as his first piece and approached Leopold Stokowski, conductor of the Philadelphia Orchestra, to collaborate on the project.

A sequel to Disney’s original 1940 film, Fantasia 2000 features live action scenes and computer-generated In a letter dated October 26, 1937, Disney wrote, “The animation along with selections from Stravinsky, Beethoven, union of Stokowski and his music, together with the best of Dukas and Respighi, among others. A host of celebrities— our medium, would be the means of a success and should including Steve Martin, Itzhak Perlman, Bette Midler, Penn lead to a new style of motion picture presentation.” & Teller, James Earl Jones and Angela Lansbury—introduce Indeed, Disney was on to something. each segment in live-action scenes, The original Fantasia concept grew telling the story of each piece and to include seven symphonic and “Everyone can enjoy providing a visual transition between animated pieces, with live action the visuals and the various animation styles. segments featuring performances by

The only selection contained in both the Philadelphia Orchestra along with a music of ‘Fantasia the original film and its sequel is “The host to help guide audiences into each 2000’—the young and Sorcerer’s Apprentice,” composed by new piece. Disney imagined Fantasia Paul Dukas and based on Goethe’s 1797 would be an ongoing project, with new the young at heart!” poem “Der Zauberlehrling”. In this pieces substituting for the originals as returning segment, Disney’s own Mickey they were completed. In this way, the Mouse finds himself in deep water after trying out a few of audience would never see the same film twice, and it could be his master’s tricks on his own. This iconic symbol of Fantasia, re-released every few years as an entirely new motion picture. a pint-sized mouse wearing an oversized wizard hat and long For a variety of reasons, a sequel to Fantasia wasn’t begun red robe, has been digitally remastered, promising to win until 1990, when Roy E. Disney, nephew of Walt, began over audiences once again. development of Fantasia 2000, featuring seven new segments The original Fantasia concept was developed by Walt Disney in the 1930s and grew in part out of the popularity of “Silly Symphonies,” short cartoons matching animation to classical music. Disney wanted to go beyond run-of-the-

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performed by the Chicago Symphony and conductor James Levine. The film, almost a decade in the making, premiered at Carnegie Hall on December 17, 1999 as part of a fivecity live concert tour. It was released in IMAX and regular

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theaters in 2000.

Presenters Bo and Jerry Ramsay are thrilled to bring the film and concert performance to Acadiana audiences on November 9 at Heymann Auditorium in Lafayette. “We couldn’t be more pleased to present Fantasia 2000 to the community.” says Mrs. Ramsay. “I have vivid childhood memories of the original film. We are excited to see—and hear!—what’s in store.”

OM: How does a concert event like this fit into the mission of the Acadiana Symphony?

MS: This type of presentation fits exactly into the mission of the orchestra by providing the highest quality music in innovative settings and by offering programming that appeals to all segments of our community. Everyone can enjoy the visuals and the music of Fantasia and make their own “musical imaginary fantasies”—the young and the young at heart!

The Ramsays have long supported music, theater, and the arts in Acadiana, and this presentation is a natural extension of their interest in bringing symphonic music to a wider audience. “We are incredibly fortunate to have such a wonderful symphony orchestra in Acadiana,” Mrs. Ramsay continues.

“Mariusz [Smolij] is constantly innovating, bringing in featured musicians and singers from out of town and keeping audiences on their toes by combining film and other media with symphony performance. Fantasia 2000 is a perfect complement to this season’s line-up and we are proud to play a small part in bringing it to Acadiana.”

OM: Could you describe a few pieces in particular?

ASO Music Director/Conductor Mariusz Smolij agrees.

He chose Fantasia 2000 for the ASO 2013-14 season in part because he considers it a perfect union of live music and animation. Here, he answers questions about select pieces ASO will perform during the film and why this particular performance is ideal for families and children.

Pines of Rome by Ottorino Respighi.

Those who know this composition or perhaps heard ASO’s performance of it last season might be surprised to see a story of jumping whales instead of pictures of Rome.

This piece is yet another example of how all music is open to interpretation and every listener can create his or her own visions and associations while experiencing a musical performance.

Overture Magazine (OM): Why did the ASO choose Fantasia 2000 as a feature concert event this year?

Mariusz Smolij (MS): Fantasia is one of a kind artistic creation combining the best of symphonic music with the best animation, a perfect marriage of arts. Presentation of the movie with a live symphony orchestra has been hugely successful all over the US and Europe. It stirs the imagination and awakens the senses of all kinds of listeners, children in particular.

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MS: I’d be happy to.

Symphony No. 5 in C minor-I. Allegro con brio by Ludwig van Beethoven.

This is one of the most famous symphonies of all times with the most famous opening motif. ASO actually performed the entire symphony during our October concert—Fantasia features only an excerpt of the 1st movement. This piece is a perfect and fascinating example of how “abstract” music can also tell a story. Disney does it through beautiful computer generated animation of different shapes representing the struggle between good and evil. Light represents good and darkness evil. This piece is wonderful to watch on the big screen and makes audiences realize that there is nothing really “abstract” about Beethoven music. His music is a narration, a story telling, and it is just up to us to let our imagination go and find the story in our own unique way.

The Sorcerer’s Apprentice by Paul Dukas.

This is the most famous selection from the original 1940 version, and it has been digitally remastered for the new film.

This is a delightful piece, commonly associated with the film, and an enduring audience favorite.

Pomp and Circumstance, Marches 1, 2, 3 and 4 by Edward Elgar.

Here we set parts of all of Elgar’s popular marches to the

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story of Noah leading a procession of animal couples onto the ark. The film segment features a bumbling Donald Duck as Noah’s assistant, lending a comical air to the evening.

Firebird Suite, 1919 Version by Igor Stravinsky.

This powerful masterpiece by Stravinsky proves that socalled “modern” or “contemporary” music that does not follow traditional tonalities and easy rhythms can be equally, or perhaps even more, exciting as traditional Classical or Romantic compositions.

The visual elements help capture the musical narration, making this piece accessible to all. With death and rebirth as its primary theme, this segment represents nature in the form of a sprite, or fairy, summoned by a lone elk. When the beauty of springtime is destroyed by the fury of the Firebird, who lives within an active volcano, it is up to the elk and sprite to once again bring life back to the ravaged forest and reawaken what lies beneath the ashes. The Firebird Suite provides a truly spectacular ending to Fantasia 2000.

The film and live concert performance of Fantasia 2000 will be held at Lafayette’s own Heymann Performing Arts Center on November 9, at 4pm. ASO is hosting a special preconcert VIP party for children prior to the show, featuring musical games, dancing, face painting and more. Kids are invited to dress as their favorite princess, prince or friendly character and enjoy cookies and milk with a real princess along with other special guests. For more information about the performance, visit www.acadianasymphony.org or call (337) 232-4277. Tickets are available through Ticketmaster. com.

Disney’s Fantasia 2000 is proudly sponsored by Bo & Jerry Ramsay, Aries Marine, IBERIABank, Van Eaton & Romero, McDonald’s of Acadiana, the Daily Advertiser, LUS Fiber and FACE magazine.

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The Mighty Heart of Lillian DeJean

By Marisa Olson Photos by Lucius A. Fontenot

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Lillie DeJean is an eleven-year-old who lives on a budget: a budget of time, energy, and emotion. She is like every child you have met, and perhaps like no one you will meet: spirited, exuberant, filled with wonder about the world, and wise. Lillian writes, paints, draws, rollerblades, ice-skates, and recently began drum lessons. Science is her favorite subject. Each moment is lived to its fullest, with purpose and intent. Each morning Lillian awakens with anticipation: What are we doing today, Mom? Lillian is acutely aware of time, and how little we all have of it, as is her family, and all who love her. The many beautiful, wonderful things in life that most people in good health take for granted, and the small things that seem so earthshattering, the DeJeans perceive differently. Lillian lives with Mitochondrial Disease. “Mito,” as it is more commonly referred, is incurable and progressive, claiming more children each year than all pediatric cancers combined.

The condition often eludes proper diagnosis, because, initially, those afflicted “don’t look sick.” Sadly, proper diagnosis usually is not made until it is too late.

“Mito” results from a dysfunction of the mitochondria within the cells. The dysfunction itself is caused by a defect on the DNA. Mitochondria are the “batteries” within a cell that produce its “power” by converting food into cell energy. These tiny batteries generate over 90% of the energy the body needs to sustain life and growth. When the mitochondria malfunction, the cell’s power starts to “dim,” leading to cell injury and death. Fatigue and exhaustion are common symptoms. Avoiding stress and sickness is key to staying healthy, which keeps the mitochondria from burning out, and allows the child to live longer. Lillian herself explains: Mito takes a lot from those that are affected by it, but it has given me so much more than I will ever allow it to take. Living life with joy and gratefulness is my goal. I want to spread awareness about this disease, because in my Mito community, so many can’t speak for themselves. People in our community might not look sick, but they are suffering a great deal. We have to support each other in our journeys, no matter how different they might be. And pray, because we “can do all things through Christ who strengthens” us.

Mother Nicole adds: “We are so grateful for each moment we have. Even a bad day is a wonderful day, because we’re together. It grieves me when people excessively complain about things that don’t matter today or even tomorrow, or SHOULDN’T matter tomorrow, the grudges people bear. Sometimes I wish I could say: ‘You know that I have a daughter who is sick. How can you waste time over emotional Acadiana’s Publication for the Arts

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papercuts?’ Love and forgive the people in your life. Life is short for all of us. We’re just more consciously aware of that fact, and incorporate that awareness into our daily lives.”

Lillian’s World Nicole DeJean noticed something different about her baby, Lillian. As time passed, Lillian showed developmental delays; for example, she did not begin to speak until three years old. Nicole took Lillian to several doctors, none of whom found anything wrong with the toddler. Lillian appeared healthy, and Nicole was “imagining” things. Some went as far to suggest that she was looking for attention, or simply not “appreciating” her child: Why can’t you be happy with what you have? It was not until Lillian was six years old that she was diagnosed with Mitochondrial Disease by a geneticist in New Orleans. Management of the disease became essential, which included preserving Lillian’s strength and feeding her daily megadoses of special formulated nutritional supplements. Despite her limitations, Lillian was well enough to attend school, and enrolled when she was five years old. The school accommodated Lillian’s need for frequent rest, since she struggled most with exhaustion and fatigue.

Despite Lillian’s diagnosis and ensuing treatment, friends and acquaintances still doubted her condition, because she did not “look” sick. Nicole: “Lillian didn’t have crutches and wasn’t in a wheelchair. People could not ‘see’ her disease, so it was invisible to them. Their denial caused them to treat me like I was crazy, and Lillian like a hypochondriac. Even some of Lillian’s teachers commented, ‘You need to pull yourself up by your bootstraps,’ or, ‘I’m in a lot of pain, too, but you don’t hear me complaining.’ They didn’t see the reality of how we lived.” As she got older, Lillian could only attend school for half days, given her exhaustion. Last year, when Lillian was in the fifth grade, the fatigue became so severe that Nicole took Lillian out of school, and began homeschooling.

Last March Lillian contracted a virus, and took four months to recover. The episode exacerbated her symptoms.

She now requires more sleep, averaging twelve to fifteen hours at night, and a three-hour nap daily. I asked Lillian to explain, in her words, how the disease affects her personally, both physically and mentally: Because I begin each day with a limited amount of energy, I have to make wise decisions about what I really want to do that day. I can’t do everything that I’d like, or need to do, so have to decide what’s more important to me. I want to have the most fun, and often have to make sacrifices: fun or energy.

I think I am more aware of what’s important than other children, because every day is a challenge and full of decisions.

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[Mito] affects my energy, my nutrition, and sometimes my ability to process information. For others, the condition can be much more severe.

Most people take energy for granted, a working stomach for granted, and are not conscious of how they use their bodies. Once you’re sick, you don’t take those things for granted anymore. My Mito friends and I don’t complain much about our limitations. You celebrate the things that are right, and learn to accept the things that aren’t.

It might take me longer to accomplish my goals, because of my limited energy, but I learn more from my journey. Mito doesn’t allow shortcuts. I pay attention to life and to the journey that I’ve been given by God.

Grace and Inspiration Through Color, Light and Form About five years ago, Lillian began curtailing her physical activity and turning to painting and drawing to find a creative outlet for her vitality and dynamic intelligence.

She enrolled with Bonnie Camos’ art class at the ASO Conservatory, and has found joy and inspiration from expressing herself through art ever since. Bonnie is Lillian’s “idol,” and who she wishes to be like when she grows up: “Bonnie is so kind, fun, and just a great person . . . an excellent teacher, one of the best . . . [art] has become a very important role in my life. It comes in many forms. Other people’s art can inspire me, while my art is an expression of my experiences.”

Camos remembers the exact day that Lillian joined her art class. Lillian presented like a healthy child, but over time, began showing symptoms.

Teacher and student have grown close, and Camos is able to read Lillian’s physical cues, signaling when she requires a break. She has also seen Lillian’s art flourish and deepen, and Lillian herself bloom into a happy, strong, inspiring child.

Last September, Camos held an event , An Evening of Spoons, featuring Lillian’s art work, in order to raise funds for and awareness of Lillian’s disease for the United Mitochondrial Disease Foundation. At the event, Lillian eloquently spoke to a gathering of over fifty persons who came to view her “Spoon Art,” and to explain to them “Spoon theory.” Being eleven, Lillian had never addressed a group before, but did so with aplomb: Overture Magazine

Having Mitochondrial Disease limits the amount of energy a person has to function throughout the day. In Spoon theory, Christine Miserandino compares energy to spoons. Each simple or complex task during a typical day, such as playing the drums with friends, or going to school, “costs” spoons.

Each day’s spoon supply varies by day, hour, and minute. A person with Mito must be aware of how their spoons are spent.

I hope the “Evening of Spoons” continues to grow every year, and that we can raise money and awareness for Mitochondrial Disease. We were able to raise $1,622.00, which we donated to the United Mitochondrial Disease Foundation, which promotes research and education for diagnosis, treatment, and hopefully, a cure for affected individuals and families.

-Lillian DeJean

P LA S T I C S U R G E R Y A S S O C I A T E S

Servicing Acadiana for 40 Years

I Will Change How Others See Their World Around Them Because of her experience, Lillian perceives a fuller, more beautiful world, and readily shares her thoughts, emotion, and love with others. “I see people in a different way. I can accept that people are different and everyone has ‘stuff.’

My stuff is Mito, but I don’t want people to judge me by my limitations. I want people to see that Mito is only a small part of who I am. I am a person who will change how others see their world around them. Through this experience, I have realized how much my family and friends love and support me, and I am very grateful.”

Lillian is curiously blessed, and so are we by knowing her.

She exudes the radiance of one who is called to awakening and action, to rouse others from complacency to a fuller life. Through her art and writing, and her advocacy for those who cannot speak for themselves, she encourages us from the sidelines to jump into the moment with everything we have.

Lillian concludes with her favorite quote: Life isn’t about waiting for the storm to pass; it’s about learning to dance in the rain!

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Darrell L. Henderson, M.D., Terry A. Cromwell, M.D., & Jeffrey S. Williams, D.O.

“Go confidently in the direction of your dreams. Live the life you’ve imagined.”

-Thoreau

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ASO’s Conservatory of Music

A Tuneful Return on Investment

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Samantha Hoffpauir, Photo by Nouveau Photeau

Thanks to generous support from the Entergy Corporation and other partners, the Acadiana Conservatory of Music offers scholarships to its most committed and promising students.

With a philanthropic focus on education, Entergy understands the boundless returns on investing in young people and their potential.

Locally, this translates into 19 students of the Conservatory receiving more than $2,600 in scholarships to continue their musical studies this fall. In addition to merit scholarships, the Conservatory is able to offer financial aid scholarships to disadvantaged students who demonstrate skill and dedication.

A (relatively) small investment in a student’s musical talent and passion can open doors to a brighter future.

Conservatory students are eligible to apply for scholarships after taking lessons for one semester.

The audition consists of performing a ‘prepared’ piece (typically music the student is learning for recital) as well as a short sight-reading exercise. Audition judges listen for intonation, technique, rhythm, and expression to evaluate the student’s overall performance.

Please visit www. acadianasymphony.org/ conservatory for more information.

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A Theory of

Practice and Excellence Classical Violinist and Teacher, Emil Ivanov

ŠiStockphoto.com/DWithers

By Marisa Olson, Performing Photos by Nouveau Photeau

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reduces excellence to a simple, universal formula: doing one’s best, consistently. Ivanov’s self-discipline and lifelong training as a classical violinist permeate all he does. His efforts are not for self-promotion, but

It’s Monday at the ASO. The building fills slowly with a steady stream

for the quiet self-satisfaction of a job well done, excellence as its own

of foot traffic, gathering a momentum by late afternoon that reaches

reward.

a full crescendo equal to the jostling multitude of a small town main

The quiet yet relentlessly driven, self-made Bulgarian, who emigrated

street. Passers through and citizens of the small, vital hub include

6,000 miles to the United States ten years ago, elicits hard-won

Conservatory students, their parents and instructors, symphony orchestra

respect and admiration of an older generation of Americans for whom

members, patrons dropping in to purchase concert tickets, ASO

experience, hard work, and quality are still prized. For those younger than

committee and board members gathering for meetings, the occasional

Ivanov, particularly many of his students, he is a warmly admonishing big

politico, volunteers, and of course, the small ASO staff. At the nexus of

brother who tells it like it is, even if you don’t want to hear it—especially

this whirling microcosm is its organizing principle, the two degrees of

if you don’t want to hear it.

separation that connects them all: Emil Ivanov.

Ivanov ensures not merely that things get done at the ASO, but

Not surprisingly, Ivanov has a full lesson schedule of 18 students at the ASO Conservatory. As a teacher, he balances tough love with humor

are executed according to plan, on time, efficiently, correctly. He is a

and encouragement, an irresistible combination for his students, most

classical violinist and winner of several prestigious competitions who is

of whom seem enthusiastic about their weekly lessons, and break into

also personnel manager, librarian, and logistics coordinator of the Acadiana Symphony Association. However, his role is not limited to logistical oversight of symphony productions, or to managing the 60 plus orchestra members. His vigilant support also undergirds all logistics of the ASO Conservatory, including its students and faculty, both on and off-site.

There is no random concept that works for violin that doesn’t also apply toward whatever you do in life, whatever instrument you play, class you take, sport you play, it’s all the same thing: to achieve excellence, you must dedicate time and apply consistency. You’re either doing your best, or you’re not doing it.

Nobody leaves their home 6,000 miles away to have a so-so life. If you’ve come this far, you’re going to go all the way.

Emil Ivanov

Through his unremitting efforts, schedules are updated, expense spreadsheets corrected, musicians hired, Conservatory students registered, teachers paid, broken instruments

big smiles when he greets them. One of Ivanov’s students with whom

repaired, sheet music ordered and distributed to orchestra members,

I recently spoke, Maddie Weber, was eager to talk about her “rad”

recitals and auditions organized, copier toner replenished. No task is

instructor.

too insignificant, no project so herculean, that Ivanov will not bring it to elegant completion.

Since deboarding his plane from Bulgaria about 10 years ago,

Maddie is a diminutive, bright and articulate 14-year-old, who began studying with Ivanov when she was 11. “Mr. Emil’s funny and easygoing, and really easy to talk to, and has a cool accent! He reminds me of a big

Ivanov has been busy, completing two degrees (a Bachelor’s in Violin

kid. He gives me a lot of work and exercises to practice, and told me once

Performance from Louisiana State University, and a Master’s from

last year that I had ‘no sense of time.’ I didn’t know what he meant, and

Rice University), building a reputation as a topnotch violin instructor,

he said, ‘You need to look at a clock more, because you obviously don’t

amassing a large following of devoted students, managing symphony

know the difference between 5 minutes and 20 minutes! If you did, I

orchestra musicians, performing as violinist for over ten years for two

could tell it in your playing.’”

symphony orchestras, playing professional gigs on a weekly basis, and,

Maddie still laughs at the joke, but the message got through. “So now I

of course, diligently practicing violin. That he has maintained such an

have this cool clock in my room made from a Led Zeppelin album cover.

intense, arduous regimen for so many years is in itself amazing; however,

I look at it when I practice, and it reminds me of what Mr. Emil said!”

doing much seems to come easily for Ivanov. That he does so much so

Maddie has performed three recitals under Ivanov’s instruction, and plans

well, and for so many years, is what distinguishes him from the ordinary

to continue lessons with him in the foreseeable future. After three years,

overachiever.

her dedication and motivation have increased, and so has her admiration

What motivates someone to relentlessly strive toward excellence, every day, year in, year out, without kudos or tangible reward, often against considerable, ongoing challenges?

Ivanov insists that he is not particularly talented or fortunate. He Acadiana’s Publication for the Arts

for her teacher.

Although this writer’s office is just down the hall from Ivanov’s, obtaining an interview presented no small challenge, given his

>>

November 2013 23

demanding schedule. The wait proved worthwhile when Ivanov, usually reluctant to talk about himself, began sharing his informed ideas about excellence in teaching, practice, and life generally.

What do you believe constitutes excellence? How do you achieve it?

Consistency. I try my best never to

quartet.

Given your ten years of experience as a classical violin instructor, what do you believe makes a teacher exceptional?

Consistency. A great teacher teaches you how to teach yourself. That’s the most important thing; however, you must have a starting point in order to begin developing those skills. With a new student, I teach not only how to

repeat the same mistake, and to improve

play the violin, but how to read music, proper posture and

my approach and performance each time

positioning of the instrument to produce good sound. I

I undertake the same task. I am constantly

help them develop their ear, so they can tell when they’re

refining: adding what needs to be added,

playing out of tune, and to help them problem solve when they

and removing what is unnecessary. That’s

have difficulty with technique.

how I approach everything.

Please tell me about your violin instructors. Who were they, and how did they shape your playing and musicianship?

Blagorodna Taneva was my first teacher, with whom I began lessons at age five and studied with for 14 years.

She obviously laid the foundation, taught me the basics, and to work very hard. Then, for five years while I was an undergrad at LSU, I studied with the worldfamous, Bulgarian violinist, Kevork Mardirossian, and more closely, with his assistant, Borislava Farrell. Mardirossian changed my overview of performing and teaching, and demanded a high level of musicianship and dedication. Farrell taught me always to do my best in every situation, to never give up, and helped me improve my sound and technique.

When I became a graduate student at Rice University, I studied under the famous Romanian violinist, Sergiu Luca.

From him I learned how to use my time wisely, the meaning of quality, discipline, and how to better understand music. He said often, Don’t practice when you play, and don’t play when you practice. At Rice, I also studied viola with Ivo van der Werff, from whom I learned how to enjoy playing, even

Once they advance to an intermediate level, I give a student a piece of music to take home for practice. They have to struggle with it. You let them figure it out, make their way through it— survive it. After they’ve completed that, you assign a new piece with new challenges.

What do you believe are common pitfalls or mistakes instructors make that may compromise their ability to teach effectively?

Lack of consistency. Teaching itself does not guarantee certain results or an outcome, because within any category or level, there is so much variation between teachers. Some are better with children, some amazing players cannot teach to save their lives, at any level. Even with the best teachers, always, certain things could be improved, approached better. So many things a teacher learns from teaching. Even my own playing has improved.

Also, you can’t make real progress having the same teacher your entire life. Hearing the same things from different people rings bells. You are more likely to pay attention if someone else tells you something another person has pointed out before. It’s important to have more than one instructor, to learn different things.

What attitude is necessary to be a good student? And is a child’s musical ability circumscribed by lack of talent?

A good student is attentive and follows instruction.

the hardest passages, in a solo piece.

They consistently do their absolute best when

I’m always interested in knowing what inspires an artist. Is there a musical work, a place, or a memory that captures and elevates you?

practicing. Practice is not supposed to happen during

Yes. I like listening to the vocal arrangement of Samuel Barber’s Adagio, from the string 24 November 2013

the lesson, but before. The teacher is supposed to help the student with the challenges they had during practice. You’re either doing your best, or you’re not doing it. This makes the best use of the teacher’s and the student’s time. A former instructor of mine, Sergiu Luca, was fond of saying that a teacher’s instruction Overture Magazine

is like a doctor’s prescription: you have to follow instructions exactly as directed, otherwise, you will not get better.

Regarding talent, it’s helpful, but not necessary to become an excellent violinist, or excellent in anything. In most cases, talent works against the child, because they fail to develop discipline and improve their skills. Usually they grow lazy, and eventually are outperformed by the more diligent, hard-working student. Sergiu also remarked that talent is only for kids. In other words, talent without hard work and discipline is worthless.

What are common practice mistakes? What habits or approach to practice do you advise as being most useful and beneficial?

During practice, it is usually a complete waste of time to play a piece all the way through, because certain sections are more difficult than others. You need to target your approach and concentrate on the problem areas. You stay with a problem and practice every day until it is solved.

With practice, nothing is unpredictable or random. You will get exactly the result you have put into it. Excellence is no accident. If you don’t practice at your absolute best, you’re just gambling. As Sergiu said, Gambling is for suckers.

When a student is unprepared, what is the teacher supposed to do?

There’s no spoon feeding, no hand holding. The teacher is not there to help you learn your notes! (laughs) The student has to play at the level he or she can play it, to the best of their ability—that’s where the instructor comes in and helps you get to the next level.

When you go to math class, they don’t hold back the whole class for you, because you didn’t get something covered two or three chapters ago. Too bad you didn’t get something. You should have done something about it at the time. Learning goes in one direction: forward. That’s how life goes.

Your childhood instructor sounds very strict. Did your family agree or disagree with her approach? What was your own feeling about it at the time?

There was no disagreement. You must completely trust the teacher, do exactly what you are told. My family also had high standards. It was understood that I do well. I wasn’t praised for bringing home good grades, nothing was said, because it was expected. But they had something to say if I made below an A! (laughs)

When reflecting on your own violin instruction while growing up, what do you wish your instructor had done differently?

I wish I had better guidance on how to practice. I spent so many needless hours, without any idea what exactly I was doing. I was just told: Go practice like a good boy and work hard. In today’s environment, this approach has no relevance. Not even quality is considered as important. You can’t expect children to spend endless hours without direction. Because today, time is the most important thing, so learning how not to waste it puts you ahead of the competition, in anything.

Acadiana’s Publication for the Arts

November 2013 25

Ballet: Aesthetic Art

For most people “ballet� conjures images of lithe dancers leaping across the stage, every move captured by a spotlight that illuminates these artists in all their poise and elegance.

26 November 2013

Anna Jurkovska / Shutterstock.com

By Emily K. Brupbacher

Overture Magazine

It is common knowledge that ballerinas are disciplined, graceful, and refined. However fewer people contemplate dancers’ persistent quests to perfect technique, their lifestyles of sacrifice. The history of ballet is writ through their essential devotion to craft and continuous artistic evolution.

Anna Jurkovska / Shutterstock.com

Young dancers must understand that ballet requires precision and mastery of technique. Alignment, which refers to keeping head, shoulders, and hips vertically arranged, is the foundation upon which all ballerinas stand. Turnout refers to the graceful outward turn of a ballerina’s legs while completing dance phrases. A measured turnout produces clean footwork and enables dancers to arrange their limbs in visually appealing lines. Close attention to posture, toe pointing, and pulling up – combining correct posture and muscle lift to optimize turnout – floats behind a ballerina’s serene visage. As the music swells she must instinctively produce impeccable technique so she may concentrate on expressing the meaning and passion of the dance.

the team.

Ballet’s influence can be clearly traced as the art form evolved and branched into different realms. Ballet originated in the Italian Renaissance of the 15th and 16th centuries and spread quickly to the noble courts of France, which explains why so many well-known ballet terms are French. Classical ballet blossomed and thrived under the rule of King Louis XIV, who was an avid dancer in his youth. The 20th century brought about neoclassical ballet, which is defined by its faster dance tempo and emphasis on dancers’ technical feats. Contemporary ballet fuses classical ballet to modern dance. While dancing a contemporary ballet ballerinas use much of the technique and pointework of classical ballet, yet they express a greater range of movement that deviates from the strict bodylines and angles of classical ballet pieces.

Audience members continue to be spellbound by the visually stunning and aesthetically dramatic art form of ballet. Dancers who commit to the art do so with discipline, grace, and great dedication. As with all forms of art, ballet is composed of many elements, some hidden to the audience, but all contributing to the overall experience for the viewer.

Ballet uses many components to tell an engrossing story – music, costume, and staging, to name a few – but the performers who dedicate their bodies to the art form are of paramount importance. The behind-the-scenes sacrifices of ballet dancers, combined with years of steely discipline, often go unnoticed by audience members.

However, it is precisely this dedication to craft that elevates ballet to such a visually beautiful and aesthetically pleasing experience. For a dancer, the body must be a finely tuned instrument. They spend years training their bodies to execute the precise form and movement required in each performance. Strength training is combined with compulsory focus on technical work to tighten the musculature of female and male dancers alike. To perform a piece with a partner requires additional training and rehearsal, as well as developing camaraderie and trust in Acadiana’s Publication for the Arts

November 2013 27

Creativity Everywhere Nathan Norris

CEO, Downtown Development Authority

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Art in Lafayette usually takes the form of a scheduled performance, exhibit, or event in a gallery, theater, park, or museum. In other words, experiencing artistic expression in Lafayette is an intentional, active endeavor.

Given the level of skill and creativity in our community, it is my hope that we can foster the display of art in public spaces that can be enjoyed—even when we are not looking to experience it.

Except for a few beautiful murals downtown, a visitor has no idea how creative, artful, or special our culture is if they walk, bike, or drive around town.

There are two ways we can address this issue.

1. Public Infrastructure. As a community we spend our collective dollars on a wide and diverse range of things—fire hydrants, utility poles, utility boxes, school buses, street lights, signage, drains, sewer tops, crosswalk striping, parking meters, bike racks, park benches, bus shelters, fences, memorials, and public buildings. There is no law that requires that these investments be boring and ugly as opposed to beautiful or creative. For example, the Little Italy neighborhood of San Diego permits artists to paint utility boxes with beautiful murals—instead of being an eyesore, they turn into a conversation piece.

28 November 2013

A good local example happened last month, when The 705 (Young Leaders for a Better Acadiana) teamed up with UL’s Professor Hector LaSala’s architecture students on the Library Wall Project. Instead of being satisfied with an ugly security fence around the downtown library while it is being renovated, they teamed up to turn the fence into a showcase for the creativity of the School of Architecture.

As we move forward as a community, supporters of the arts should help guide our public officials toward infrastructure investments that do a better job of reflecting our creative culture.

2. Civic Art Overlays. Lafayette has very few examples of civic art, let alone places where civic art can be placed.

A few examples in the downtown come to mind—the 9/11 monument in Parc Sans Souci and the General Mouton statute in front of the Le Centre International building.

Over time we can remedy this deficiency by teaming up with neighborhoods and community planners in the creation of Civic Art Overlays. A Civic Art Overlay is simply a physical plan of where civic art or performances can be placed in the future. It can be an area that is as small as 3 feet by 3 feet that can accommodate a sculpture to a larger area that can accommodate a raised area for performances.

In sum, we should celebrate creativity everywhere, not just in those places where we expect to find it.

Overture Magazine

SUPPORTING THE ARTS

in our

COMMUNITY

Visit one of our convenient branches in Acadiana today! www.iberiabank.com

Acadiana’s Publication for the Arts

November 2013 29

Nutcracker the

By Marisa Olson Photos by Amitava Sarkar, Courtesy of Houston Ballet

How Lafayette’s only nonprofit, professional dance company plays its vital role in outreach and the performing arts.

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ach Christmas season the Lafayette Ballet Theatre (LBT) performs Tchaikovsky’s The Nutcracker, one of the composer’s most famous works, as well as a traditional American favorite. What distinguishes the Lafayette Ballet Theatre from other ballet studios in Acadiana is that it is Lafayette’s only nonprofit professional dance company, and one among few nonprofit, professional companies in the entire state. LBT offers professional 30week contracts to local artists as well as quality classical performances and educational outreach programs to Acadiana audiences. Lafayette Ballet Theatre has been a vital presence in the performing arts and an essential educational institution in Acadiana for the past thirteen years.

©iStockphoto.com/mariana_d

LBT produces two full-length classical performances each year, which feature international principal guest artists who perform with local dancers.

One of its two annual productions, The Nutcracker, offers performance opportunities for the entire local dance community. Without LBT, talented dancers would be compelled to travel outside the community for performances that would enable them to work alongside world-renowned guest artists, as well as to secure professional performance contracts.

Correspondingly, if not for LBT, Acadiana citizens would have to visit companies outside the region to enjoy professional, full-length ballet. LBT ensures that great local talent is nurtured, cultivated, and recognized, while Acadiana is treated to quality performances that entertain and enlighten.

LBT also offers several outreach programs that powerfully impact the community. Its professional dance company regularly gives demonstrations of skill and artistry to local elementary, middle and high schools. Through its program, A Night at the Ballet, LBT provides 250 complimentary tickets for each of its performances to children receiving assistance in local homeless and domestic violence shelters. Another of its programs, Chance, provides 12 weeks

>> 30 November 2013

Overture Magazine

Dancer(s): Charles-Louis Yoshiyama Choreographer: Ben Stevenson

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Acadiana’s Publication for the Arts

November 2013 31

Above: Dancer(s): Kelly Myernick and Simon Ball Choreographer: Ben Stevenson

of free ballet classes to students of the Boys & Girls Clubs of Acadiana. LBT also offers Discover Dance, wherein Girl Scout troops spend a day behind the scenes with the LBT company during rehearsal for The Nutcracker. Discounted tickets are also available for students. Such diverse outreach efforts ensure that classical ballet is accessible throughout the community, regardless of financial situation.

The LBT Nutcracker cast comprises four internationallyacclaimed guest artists in the principal roles of the Sugar Plum Fairy, the Nutcracker Prince, Father Stahlbaum, and Drosselmeyer. Sixteen members of LBT’s professional company, as well as about 150 local students selected through open auditions, round out the cast. Some cast members attend LBT’s dance school, the Dance Conservatory, but the majority attends other dance schools across Acadiana, including not only in Lafayette, but Acadia, Iberia, St. Landry, St. Martin and Vermilion parishes. Approximately 40 to 45 volunteers assist in areas including marketing and backstage. The company and selected students undergo 12 weeks of arduous, intensive rehearsals. The directors easily spend more than 400 hours in rehearsal with many additional hours for costume and staging preparations. Production of The Nutcracker costs approximately $115,000 each year, and approximately 4,000 audience members attend its two performances.

LBT envisions itself as a family-oriented performance company, which makes The Nutcracker a felicitous programming choice. The timeless, universal appeal of The Nutcracker delights audiences of all ages, especially during the holiday season when families gather together. LBT’s production of the Tchaikovsky ballet retains its classic, traditional character, which draws families year after year who have enjoyed past productions and wish to re-experience the sentimental favorite. Each season slight changes are made to sets, costumes, and choreography, yet the core of the ballet 32 November 2013

Dancer(s): Charles-Louis Yoshiyama Choreographer: Ben Stevenson

remains faithful and true to the original.

Part of LBT’s holiday tradition includes its cast party, Land of the Sweets, in which the entire audience may join.

The event immediately follows the Sunday matinee performance of The Nutcracker on December 15 at 4:30 p.m. at the Heymann Performing Arts Center. Tickets are available through local Ticketmaster outlets. Create a special memory for you and your family this season.

Houston Ballet’s The Nutcracker is running November 29- December 29. More information is available at www.houstonballet.org.

Dancer(s): Simon Ball and Melissa Hough Choreographer: Ben Stevenson Overture Magazine

Leauxcal Festival

Beneath the Balconies Cathy Indest

“New Iberia Beneath The Balconies” held annually during the month of October is a signature event for the Iberia Preservation Alliance and the New Iberia Main Street Program. This Alliance, a coalition of three distinct and culturally enriching entities of Bayou Teche Museum, Iberia Cultural Resources Association, and Shadows-on-the-Teche presents an opportunity to admire historic architecture while delighting in live theatrical vignettes from beneath the balconies of New Iberia’s award winning Main Street.

For more information, please visit us on the web at: bayoutechemuseum.org, iberiacultural.com and shadowsontheteche.wordpress.com.

Acadiana’s Publication for the Arts

November 2013 33

Public School Arts

Good for the Body, Good for the Mind

J

Johanna B. Divine, Photos by Lucious A. Fontenot

Can you share a special story of a child who has benefitted from the JWJ Dance Program?

After 12 years of teaching at JWJ, I’ve had so many students who have had positive experiences. Maybe that’s why we have so many people on the waiting list! At JWJ, every child participates in the arts, including those with special needs. I had a student for a number of years who was autistic and mostly non-verbal, but loved to dance. As The JWJ Dance Program, led by instructor Cissy her instructor, it was difficult to tell if she was absorbing Whipp, provides a comprehensive dance foundation for the material, as she would not make eye contact and often students, encouraging them to explore a wide variety of drifted away to look in the mirror. Then, suddenly, she dance elements, both in theory and in practice. Overture would join in and know the movements in the sequence caught up with Cissy (no small task, considering her busy we were learning. She could look at me in the mirror and schedule!) to learn more about the JWJ Dance Program learn movement, but not look at me directly. She learned and better understand how this program enhances the all of her dances this way and was school and the dance community “Through dance we able to perform on stage with at large. learn to think creatively, the rest of the students. I loved watching her growth as part of the How would you describe the JWJ gain movement skills, JWJ Dance Program.

Dance Program philosophy?

We believe that everyone is work as a team, and How does the JWJ Dance Program a dancer. Dancing is fun and connect with other impact the Lafayette Parish Public encourages students to work School district and the broader people, cultures and body and mind simultaneously. community of Acadiana?

Through dance we learn to think time periods.

We learn Dance provides young people creatively, gain movement skills, with valuable life skills: a means to take pride in our own work as a team, and connect with of purposeful recreation, the other people, cultures and time artistic creations.” opportunity to build a positive self periods. We learn to take pride in image, enhanced self-discipline our own artistic creations. Our and opportunities for creative thinking. Aren’t these the dance program follows both State and National Content qualities we seek in our students and future community Standards for Dance, so unlike a private dance studio that leaders? concentrates on a particular style, we are able to explore much more. Students learn to identify and demonstrate How are children selected for your program? How many movement elements and skills from a variety of styles; children attend your classes? understand choreographic principles, processes, and We have a lottery process to select students for our structures; apply and demonstrate critical and creative school, so, initially, parents register their child in the thinking skills through dance; develop an understanding lottery. If an older sibling is selected, younger siblings of dance in various cultures and time periods; and make are automatically allowed to follow their older brother or connections between dance and other curricular subjects. sister to JWJ. Once they are here, our faculty monitors J. Wallace James Elementary School is an Arts and Technology Academy located in Scott, Louisiana.

Dedicated to nurturing success in both academics and the arts, J. Wallace James (JWJ) offers students the opportunity to explore a diverse range of art forms including dance, visual arts, piano, strings, vocal music, drama and technology.

34 November 2013

Overture Magazine

their progress and notes special talents or aptitudes, making recommendations to parents when it’s time to sign up for 3rd grade electives. This selection becomes their “major.” In the JWJ Dance Program, I teach approximately 560 students each year.

When did you start dancing? Please describe your dance career.

I have been a dancer all my life and worked as a performer, choreographer and dance educator for almost 40 years.

I received my B.F.A. in Choreographic Design from the University of Louisiana at Lafayette and my M.A. in Performing Arts: Dance from the American University in Washington, D.C. In the 80’s, I founded Louisiana’s first professional modern dance company, Moving South Dance, Inc., and toured nationally and internationally. I love to work collaboratively with a variety of musicians, visual artists, actors, poets, and dancers in the community.

To experience JWJ students in action, join them for their Winter Musical “The Story of the Nutcracker,” held December 19th at J. Wallace James Elementary, 1500 W. Willow St., Scott, LA 70583. Created entirely by the 5th grade class, the play features student musicians, singers, actors and dancers. For tickets or further information, call (337) 234-0461. For more information on Cissy Whipp, or visit www.cissywhipp.com.

Acadiana’s Publication for the Arts

November 2013 35

Leauxcal Students

Student Dancers Take the Lead Johanna B. Divine

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Acadiana is known both for its rich musical heritage and enduring dance traditions. From social dancing to formal ballet, dance of all forms and fashions is alive and well in southwest Louisiana, and it’s not uncommon to see young and old sharing both the dance floor and the stage.

Public school programs, like the J. Wallace James Elementary Dance Program, along with local arts organizations, such as Lafayette Ballet Theatre, are bringing up a talented group of student dancers, offering professional instruction and opportunities to learn and perform alongside world-renowned artists.

Lucius A. Fontenot

One such dancer is Kaitlyn Foster, age 10. A student at J. Wallace James Elementary School, Kaitlyn began dancing at the age of 3 and still takes formal dance classes outside of her school program. When asked about her accomplishments and aspirations, she explains, “My greatest accomplishment has been performing as part of the school arts program.

I’d like to continue dancing throughout middle and high school, and hopefully go to college and dance professionally.”

Cissy Whipp, Dance Instructor and leader of the Kaitlyn Foster Dance Program at J. Wallace James describes Kaitlyn as “a fireball.” “She literally never stops dancing, stretching, or practicing a turn or a split,” says Whipp. “Kaitlyn has a sparkling personality and a great stage presence. There 36 November 2013

are kids who study dance and kids who are dancers—I think Kaitlyn is definitely ‘hooked’ on dance.”

As part of the 4th and 5th grade ensembles, Kaitlyn has performed in numerous school plays and musicals.

She was part of “Step on the Beat,” a lively exploration of many elements of dance featured in the Schools “I remember seeing of Choice Fall Frenzy the Nutcracker at the Cajundome with my mom and Convention Center last fall. She has also grandmother when learned the Chinese Ribbon Dance and swing I was five, and I dances for other school have wanted to be a performances.

professional dancer

“I love learning new ever since.” things,” says Kaitlyn.

“In Miss Cissy’s class, I learned how to do my turns, and I love practicing and turning across the floor. When I’m dancing like that I feel I can enter another world and become a different person.

It’s really my passion.”

Kaitlyn will perform in the 5th grade production “The Story of the Nutcracker,” held December 19th at J. Wallace James Elementary. For tickets or further information, call (337) 234-0461.

Anna Stansbury and Isabelle Hilton, both age 12, are two students poised to make big waves in the Acadiana dance community. Anna and Isabelle are sharing the lead role of “Clara” in Lafayette Ballet Theatre’s holiday classic “The Nutcracker,” and their excitement is palpable. Growing up in Lafayette, they have each studied formal ballet from Overture Magazine

Masterwork no.4

Allen Breaux Studio & Gallery

Allen Breaux Studio & Gallery

Isabelle Hilton

a young age and, according to Lafayette Ballet Theatre’s Co-Artistic Director Shannon Heath, are performing a very important role in this year’s production.

“The Nutcracker is unique in that some of the principal roles are for children,” says Heath. “Anna and Isabelle have trained for five or six years to develop the skills and work ethic for the role of Clara. They are both very accomplished dancers for their age and will continue to develop their dancing and acting skills through the rehearsal process and live performances like this one.”

For Isabelle, the chance to play Clara is the stuff dreams are made of. “I always loved being in motion ever since I was a little girl,” she says. “My mother signed me up for formal ballet classes when I was three years old. I remember seeing the Nutcracker with my mom and grandmother when I was five, and I have wanted to be a professional dancer ever since.”

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

Anna Stansbury

Jennifer Welch-Babidge, soprano ASO Youth Orchestra, ASO Chorus

christmas

guest artist:

Thursday, December 19, 2013 /// 6:30 pm Heymann Performing Arts Center Sponsors Cherie and Ralph Kraft

Anna is equally thrilled by the opportunity. “I started formal training at Lafayette Ballet Theatre at the age of six. This year I am playing Clara in The Nutcracker, a part that will take extra practice but will be especially memorable.” She wholeheartedly embraces the joys and challenges a role like this presents, saying, “I am not used to all the acting on stage, but I am looking forward to a great learning experience!”

Hilton and Stansbury are honored to dance alongside guest artists Karel Cruz and Lindsi Dec from the Pacific Northwest Ballet, who will play the roles of Nutcracker Prince and Sugar Plum Fairy, respectively. The Nutcracker will be held December 14-15 at Heymann Performing Arts Center in Lafayette. For tickets or further information, call (337) 262-0444 or visit lafayetteballettheatre.org.

Acadiana’s Publication for the Arts

November 2013 37

Private School Arts

Sacred Heart Strings – Liqiong “Lily” Huo Johanna B. Divine, Photos by Nouveau Photeau

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A graduating senior at the Academy of the Sacred Heart in Grand Coteau, Louisiana, Liqiong “Lily” Huo began her lifelong passion for the violin in 4th grade while still residing in her native Guandong, China. She came to Sacred Heart—one of the most prestigious schools in Acadiana, with a history of excellence stretching back to 1821—in September of her junior year to continue her academic and musical studies. With an affinity for natural beauty and devotion to the emotional power of music, Lily draws on the benefits of living in southwest Louisiana as she contributes her own distinct musical presence to the local culture.

Why did you choose violin?

I started playing violin in 4th grade. I used to play piano, starting in 2nd grade, but found that I couldn’t do both. In China, I didn’t really play much in front of people.

The schoolwork was very heavy and I lacked confidence. But after I came to Louisiana, I felt like I had more time to play, and the chorus teacher even asked me to play for Mass.

I play violin not for competitive reasons, but because it makes me feel better—it’s part of me. I think when you play, you make others happy, and that matters so much. Many times when I’m playing or practicing I don’t realize people are listening, and afterwards they come to me and say thank you. Those are the things that make me want to keep playing. I just talked to one of my teachers today and she told me that most people know music on some level. You don’t have to be very talented – if you love music you can play it and share it.

What are your greatest musical accomplishments?

Performing for Mass at school, and also in the winter and spring concerts as a soloist. I played a Japanese piece called “Innocence” and Beethoven’s “Spring Sonata.” I had a hard time choosing pieces to perform, but my friend asked me to play those pieces because they are easier to show your emotions on than some others. They are more expressive. Sometimes, when you play classical music, the longer and more complex pieces are hard to understand. Some of them are more technical and not as emotional. The pieces I chose are easy to understand, in my opinion, and very touching.

Do you study violin in school?

I take classes in Lafayette, at River Ranch. My teacher is the former conductor of Acadiana Symphony Orchestra, a fellow person of Chinese heritage named Mr. Xiao-lu Li. I have been taking classes with him since What do you see as your future playing music? Do you I came to Sacred Heart. Last year I took classes with his aspire to play music in college? After college?

That’s my plan. I think it’s hard to get into college wife and this year I take his class once every two weeks. with an audition, but I will make an effort to do What is your feeling about the role of music in life?

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that. This summer I spent a month trying to play in my teacher’s orchestra back home in China. I just wanted to experience it. It’s very different from playing solo, but playing together in that way you can really hear others.

You are part of something bigger and can feel the whole piece of music—it’s comprised of so many different instruments and sounds. It is a great feeling to be part of the whole.

What are your favorite things about violin? Is there anything you dislike or feel frustrated by?

Sometimes I think I love it because it sounds more beautiful to me than other instruments, and because with violin, as opposed to piano, you create the tones right with your hands. Another thing I love is that I can carry it around easily and bring it anywhere. Like anyone else, I sometimes feel frustrated when I can’t do things well. I fear that I’m not talented enough to play this instrument, or I compare myself to others who can play very well or inherently better. Those are things that I struggle with a lot. A friend plays well and has great talent, and sometimes when I practice I feel like I’m not good enough. My teachers tend to help me see a better way. I practice every day—if I don’t have a lot of homework!

Is there anything else you’d like to say about how you relate to playing the violin?

When I play I like to connect to nature. In China, I would just practice in a closed-off room and exclude others because I wasn’t as confident. But when I came here, the first time I practiced in the garden of the school, I felt like the music should not be played in a room but should be out in nature and shared. It feels different when you stand outside and everything is open; even the simplest sound of the instrument played in nature sounds beautiful.

Acadiana’s Publication for the Arts

November 2013 39

Life in Motion

By Johanna B. Divine

I

“If I had been born to different parents, I would have had a very different life,” explains Emma Young. A native of Dayton, Ohio now living in Eunice, Louisiana, Young is the daughter of Sharon Leahy and Rick Good, founders of the traditional American dance troupe Rhythm in Shoes. “My mother was the choreographer and my father was the composer and band director,” Young explains.

“I was attending rehearsals as a newborn, and began dancing with the company at the age of five. I’m pretty sure I danced before I walked!”

Emma’s “parent” company, Rhythm in Shoes, was founded in 1987 and toured in 48 states, as well as Canada, Japan and Ireland, before saying farewell in 2010. Throughout its 23-year history, Rhythm in Shoes remained rooted in traditional forms of American music and dance— including swing, oldtime, bluegrass, tap, square-dancing and clogging— while also producing widely acclaimed original music and choreography. This rare combination of tradition and innovation garnered support from the National Endowment for the Arts and Ohio Arts Council, along with numerous other foundations and arts organizations.

40 November 2013

“I grew up in the dance studio, and was homeschooled throughout my entire childhood so that I could go on tour with the company,” says Young. “By the time I was 16, I performed in every dance piece we did, including tap, clogging, some modern pieces and some theatrical dance.

My formal training started with Irish step dancing when I was four, and continued with ballet a few years later. Other than that, I was taught everything I know from my mother and the other dancers in our company.”

As a young adult, Emma remembers wishing she had a more ‘normal’ lifestyle. “I met kids who played sports and went to regular school and had parents with nine-to-five jobs. My life seemed so different in comparison, but once I was able to break free from wanting to be like other kids, I realized how amazing my life really was. Looking back, I see that I got to do some incredible things because of the job my parents had.” Unlike most professional dancers, Overture Magazine

Young never had to audition. “I was fortunate enough that I never really had to think about it. I was born into a job as a professional dancer, and just continued honing my skills. That was my job.”

Her travels with Rhythm in Shoes took Young to numerous music and dance festivals each summer, where she met friends and developed a community of like-minded artists. “Each summer we’d return to the same festivals, where many of the same people were clogging and playing in bands. The friends my parents made over the years had children and we all grew up together. We didn’t live in one place and build community; we lived in little pockets all over the place and ended up building what felt like a stronger community.

We’d get together once a year, and it was like a family reunion.”

Young met her husband, Linzay, at a summer festival and moved to Eunice in

2008. She performed with Rhythm in Shoes during their two final seasons, and has continued to dance, both as an instructor at music camps and just for fun.

“When I moved to Louisiana I started doing more social dancing, which was a great outlet for me. There was no performance involved, no stress. We’d go out and see bands and it was just the break I needed—no rehearsal, no costumes, no big production. It was nice just to take a step back and make it relaxed.” Even offstage, Young continues to find joy on the dance floor. “I think movement, especially dance, is necessary for happiness. That’s one of the reasons I love living here— people are still connected Acadiana’s Publication for the Arts

to the culture and roots of music and dance, and that makes people happy!”

After a short break from company life, the long-time dancer has itchy feet. “I think I’m ready to create an outlet for a new kind of music and dance performance in this community,” says Young. “I’d like to get a small group of people together who love to dance and want to learn about percussive styles—clogging, tap dancing and body rhythm kind of stuff. It’s time for me to transition into something new.”

That something new includes an upcoming performance as part of the Louisiana Crossroads series this November.

Emma and Linzay Young will be performing along with her parents as “The Good and Young Family Band,” November 21-22, 2013, at the Acadiana Center for the Arts in Lafayette. For more information about Emma Young and Good & Young, please visit www.leahygood. com/goodandyoung.

November 2013 41

The

Power of the

Word

By Marisa Olson, Marching Photos by Kevin Ste. Marie

A young man’s letter to himself manifests a marching band and mobilizes a community.

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42 November 2013

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A Treasury of Words Since Tremaine Rossyion was a young boy, his mother repeatedly encouraged: Keep writing, keep reading. Like most children, Tremaine expressed a fascination for music, and loved doodling his ABC’s, smiling suns, and bird-filled trees on the paper that he found around the house. Mom lovingly tended to her child’s creative interests by bringing home writing tablets, construction paper, and crayons that Tremaine could have for his own.

Doodles developed into writing, and fascination with music into playing trumpet. By the time he was in junior high, Tremaine was journaling, and grew more diligent during his high school years at Breaux Bridge, where he played trumpet for three years with his high school band. The band director, Mr. Whitlow (“Mr. Whit”), instilled in Tremaine and his fellow band members a passion for music and community that bonds them to this day.

Although Tremaine considered himself a musician first, committing thought to paper became the natural way to think out loud and to trace the contours of his heart on a personal canvas. When writing, intention flowed through his arm like a current of electric prayer; each letter pressed into paper seemed to illuminate and hum with a life of its own. Tremaine never threw away his journals. As they multiplied, they formed a small library—a treasury of letters to the world.

“As I grew older, I started noticing that whatever I wrote on paper seemed to happen. I didn’t intend it that way, but an important event would occur, and I’d get this thought, Didn’t I write this down before?” Upon referring to his journals, Tremaine usually would find the exact letter he had written to himself months before. These buried, forgotten messages seemed not to have forgotten Tremaine.

on the dreams and hopes he had for them.

After graduating in 2005, Tremaine received an associate’s in nursing, then a bachelor’s in psychology. He became a 4-H paraprofessional at the St. Martin Parish-LSU AgCenter in Breaux Bridge, where he developed programs to meet the special needs of community and youth, then interned with the Disney College Program in Orlando. After completing that internship, he became certified as a nursing assistant at UL, then enrolled in its registered nursing program.

Tremaine had been raised to be civic-minded by his mother, herself a former 4-H member. Vowing “to make the best better,” he forged connections with his community by mentoring at Northside High School to assist soon-to-be graduates with transitioning to college, and by volunteering for numerous charitable events with the American Cancer Society, the American Heart Association, Acadiana Cares, Disney VoluntEARS for the Florida Coastal Cleanup, Habitat for Humanity, Special Olympics, Susan G. Komen Race for the Cure, and Toys for Tots.

Building on this foundation, Tremaine recently became a counselor with the Affiliated Blind of Louisiana in Lafayette, and is also taking clinicals for the registered nursing program. While striving to make a better world, and making progress in his own life, Tremaine and his entire community saw their beloved alma mater lose a treasured tradition.

The Day the Music Skipped Town

In 2011, “Mr. Whit,” Breaux Bridges’ High School Band Director of many years, retired, and literally, the music left with him. After his departure, the school lost its band.

The shock wave of the loss emotionally leveled the small Acadiana community, leaving Tremaine, the students and staff at BBHS, and its alumni, dispirited, incredulous, and dismayed. Who ever heard of a high school football team Throughout high school, Tremaine’s love for home and without a band? Apart from football games, for years the high alma mater converged, and eventually expanded to include school band also had performed at Breaux Bridge’s annual his community. Music and writing were not mere vehicles crawfish festival, holiday parades, and other local events. for private self-expression, but a way to connect with the people and things that he loved, and a way to focus intent >> Acadiana’s Publication for the Arts

November 2013 43

The entire community felt the loss when the band was phased out in the wake of Whitlow’s retirement.

words ignited a firestorm of posts from even more members who also shared memories and pictures.

Until it was taken from them, most everyone had taken for granted how fundamental and intrinsic music was to their shared experience. Music intensifies emotion, rallies spirits, and unifies a group of individuals into a single, harmonious body. Stated simply: music brings people together. Certainly, the high school band was essential to the game experience.

Within two weeks of Tremaine’s first Facebook post, The Breaux Bridge Alumni High School Band was formed, and held its first official meeting on Thursday, August 29, 2013, where they discussed membership, game dates, approvals, uniforms, and instruments. Their goal: to represent Breaux Bridge High as an alumni band, and revive its heartbeat. They set their first official practice date for Sunday, September 8, 2013, in Parc Hardy, and committed to practicing every Saturday and Sunday until performances were completed. Alumni from across Acadiana and Texas, and from classes as distant as 1984, pledged to dedicate their weekends to practicing.

After Whitlow’s departure, the school bleachers still packed with cheering fans; the football players still charged onto the field and gave a hundred and ten percent, but without their collective voice and soul—their music—the game seemed off. The cherry of humiliation on top of the sundae of disappointment was having to watch and listen as the visiting team’s band played and marched on their home field at half-time. Around this time, Tremaine wrote in his journal that he wanted to form a new band for his old school, although he would not remember writing that until much later.

As before, words written and long forgotten by Tremaine seemed to have been working quietly behind the scenes of his subconscious, waiting for their moment; the current of inspiration that had flowed from Tremaine’s heart and onto paper reversed course, delivering inspiration: We all had it in our hearts, and just did not know where to start. I wanted to rebuild the band foundation that was once there at Breaux Bridge High School. The encouragement and wisdom his mother had imparted to him while growing up, the guidance and instruction of his old band director, Mr. Whitlow, and the positive support of countless others converged as one voice, spurring him on.

We Are Family On one “Throw Back Thursday,” Tremaine posted a status on Facebook, tagging Mike Barber, a former Breaux Bridge High School drum major and trombone player: BBHS Band: Remember Mike Barber making us run around school? And last but not least, Mr. Broussard & Mr. Whitlow?

BBHS alumni postings of band memories and experiences came flooding, taking Tremaine off guard.

He had hoped for an enthusiastic response, but the outpouring staggered him. Encouraged by alumni reaction to his first Facebook post, Tremaine started a group page, “BBHS Band Alumni reunion”: We are a band family; we have always been band brothers and sisters. This is like a reunion where we meet family that we have never seen before. Tremaine’s 44 November 2013

Tremaine had assembled his troops, but before they could march forward, they needed instruments, sheet music, a place, and permission, to perform for the Breaux Bridge High School football games. Tremaine contacted BBHS principal, Mr. Louis Blanchard, to obtain his approval for the band to perform at a couple of high school games. I knew that I needed Blanchard’s permission and support before I could even get started—and he approved! I was beyond excited! Then everything just started falling into place. I thanked God for allowing Mr. Blanchard to give us the opportunity!

Blanchard also granted the band permission to check out the sheet music that had grown dusty in the old band practice room; however, the instruments themselves had been removed from the premises, and were now in storage at Breaux Bridge Middle School. Tremaine then contacted its principal, Mrs. Denise Frederick, who gladly agreed to loan the instruments to those band members who needed them.

The Alumni Band’s founding members include: Tremaine P. Rossyion, Trumpet player (President); Michael Barber, Drum Major/Trombone player (VicePresident); Ashley Domingue, Majorette/Dancer (Secretary); and Reginald Hill, Tuba player (Spiritual Overture Magazine

Leader). For Tremaine, assembling the band was never just a reunion to perform, but a promise to aspiring youth musicians of Breaux Bridge, and a tribute to Whitlow and former BBHS band directors: They helped pave a part of our path to success. We also want to continue the legacy for the young aspiring musicians of the future.

With the success of the Alumni Band, Tremaine hopes that one day, whether it takes one year or five, the young students of Breaux Bridge again will have the opportunity to learn and play a musical instrument, and to perform in a band, which would pave a path to scholarship and a possible career in music. If this dream becomes reality for the children of Breaux Bridge, they would learn music

while in elementary and junior high school. While they would learn, the Alumni Band would continue to practice for events, and would teach and train the upcoming students, preparing them for high school band.

Tremaine is ever mindful of the power of words, even forgotten ones, and their ability to shape reality. His dream is now shared by thousands, and its momentum still gathering. He is extremely grateful to those band alumni and community leaders who are making the dream reality. Tremaine leaves us with this final thought: This is just the revamped foundation. From here, we will see where this takes us. As of now, all we are asking is for positive school spirit and support from the Breaux Bridge community by welcoming us back.

Christmas By Candlelight Tuesday, December 3 & Friday, December 6, 2013 7:30 p.m. at St. John’s Cathedral For tickets: Please call 337.349.5342

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November 2013 45

Luxury Residenceat Sea

By Emily K. Brupbacher

O

n January 29, 2014, The Acadiana Symphony Women’s League (ASWL) is proud to offer Louisianan’s a truly unique experience: guests will get to spend an evening experiencing luxury, class, and fine dining aboard The World. Measuring in at 644 feet, The World is the largest privately owned yacht on the planet. From its exterior, The World may look like an ordinary cruise ship, but for those who own one of the 165 apartments onboard, The World is a home away from home that offers the very finest in cuisine, drink, and recreational activities.

The World is home to only about 100 Residents.

While aboard the ship, guests enjoy refinement and extravagance in just about every way. The yacht features The World Boutique, an exclusive clothing shop, and House of Graff, which features truly one-of-a-kind jewelry and accessories. There is also an elite golf club and a gym for Residents who enjoy being active.

The World Spa allows for Residents to relax and treat themselves to facials, massages, beauty and hair salon services, and much more. The Aqua Spa includes a Jacuzzi, steam bath, and meditation room.

Of course, one can’t imagine such a lavish lifestyle

46 November 2013

without contemplating the sumptuous food and drink that is served on such a high-class establishment.

The World has six world-class eateries, not including the option of 24-hour room service. Fredy’s Deli, which offers sandwiches and salads in a marketplace environment, also allows for convenient shopping.

The Marina specializes in steaks and rotisserie meats and boasts a fantastic panoramic view of the ocean.

There is also Tides, featuring Mediterranean cuisine with an Italian flair, and East, a pan-Asian restaurant that serves sushi, sashimi, and tempura. The most distinguished restaurant onboard The World, however, is Portraits, which turns fine dining into an art form with unparalleled service and cuisine.

Diners who take part in the Symphony Supper on The World on January 29th, 2014 will have the pleasure of dining in Portraits and savoring unmatched haute cuisine combined with a sophisticated one-of-a-kind ambience. Champagne reception and a tour of the ship will start at 6:00pm. Dinner will be served at 8:00pm.

Enjoy musical entertainment and a three-course meal paired with some of the finest wine you have tasted.

The World also features an array of chic cocktail lounges Overture Magazine

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that allow for Residents to socialize in style.

Whether your preference is to have a business meeting over drinks or just sit and sip a glass of wine while enjoying the magnificent view from The World, there is sure to be a place that fits your social needs. Even cigar connoisseurs can find a lounge that suits their desires in The Cigar Club, an English-style smoking club and cognac bar that features a humidor and the very best selection of cigars.

The Acadiana Symphony Women’s League has planned a night to remember for participants aboard The World. This is a once in a lifetime opportunity to experience the very finest cuisine and an elegant atmosphere, all while supporting your symphony.

If you want to experience The World, please visit: www.acadianasymphony.org to buy your tickets.

Seating is extremely limited. Tickets will be sold only until December 15.

Acadiana’s Publication for the Arts

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November 2013 47

Around Acadiana

35th Chorale Acadienne Season Continues into 2014 Now in its 35th season, Chorale Acadienne has some treats in store for audiences throughout South Louisiana as it continues to fulfill its mission of providing highquality choral music. Chorale’s well-loved Christmas by Candlelight concerts return to St. John’s Cathedral on Tuesday, December 3, and on Friday, December 6, 2013.

Selections from Bach’s Magnificat and Handel’s Messiah, along with new arrangements of favorite carols presented

by Chorale, the Ascension Episcopal Middle School Choir, and special guests, make the candle-lit concerts joyful celebrations of the holiday season.

On Saturday, March 22, 2014, Chorale Acadienne will roll out the red carpet at the Petroleum Club of Lafayette.

Moonlight and Music, Chorale’s annual dinner, silent auction, and concert, will delight the audience with selections from some of the finest film scores of the past 85 years.

Chorale Acadienne ends its season on Friday, May 2, 2014, with its first concert at St. Mary’s Catholic Church of Lafayette, located on Doucet Road. The program, A Celebration of American Choral Music, will include works from pre-revolutionary times through the 21st century. Chorale will delight the audience with its premiere performance of Randall Thompson’s Frostiana, seven country songs set to the poetry of Robert Frost.

All Chorale Acadienne concerts begin at 7:30 p.m., with the exception of Moonlight and Music, which begins at 6:30 p.m.

Season tickets, as well as single-show tickets, are available at www.choraleacadienne.com, or may be purchased by calling (337) 349-5342. Depending on the venue, a limited quantity of tickets may be available at the door for each concert, so we recommend purchasing in advance.

48 November 2013

Overture Magazine

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.

Acadiana’s Publication for the Arts

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November 2013 49

Gourmet To Go

By Emily K. Brupbacher

F

Food is an integral part of the Southern way of life— we gather around our favorite cuisine to celebrate, commiserate, and just appreciate one another. Acadiana is regarded as a sort of culinary Mecca—we proudly advertise that we have the best food around. We set high standards for our meals because we see them as expressions of love for one another, a chance to welcome new friends, and an embrace of our cultural heritage.

as an art,” he explains. When it comes to viewing food so reverently, he thinks Louisianans do it best. “People in Acadiana appreciate and love food like no one else on earth. I’ve had restaurants in Las Vegas, California, and New York but still, the response I get from people in this area is the best.”

A close, friendly relationship between Chef Gregory and his patrons is essential to his success. The Facebook page for his food truck is flooded daily with positive responses. “People have commented that they would like my food to be their last meal—that’s a real compliment,” he says with a chuckle.

In the crowded field of great local cuisine, Lafayette native Chef Gregory is raising the bar when it comes to preparing, serving, and enjoying good food. In the past year Chef Gregory has developed a loyal following His popular food truck has kept Chef Gregory among locals after opening a food truck. He brings years incredibly busy in the year since his return to Lafayette. of culinary experience and expertise to the (roving) The truck can be spotted at various locations throughout table – and it shows.

Lafayette and has become a mobile hotspot for locals who are looking for “gourmet on the go,” as he calls it.

Chef Gregory is a true virtuoso when it comes to “The food truck idea came about after I ‘retired.’ I was food. “The way I look at food—the preparation, the presentation, the taste—it’s really crucial that it’s viewed looking for something to do. Food trucks have become

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Overture Magazine

a big trend in places like Austin, and we have a growing number of them in Lafayette. It’s something fresh and new that people are really embracing.”

Embracing what is fresh and new while respecting the habits that made him a successful restaurateur has made Chef Gregory a local star of the culinary arts.

Chef Gregory serves up fantastic food combined with something else Southerners appreciate—a warm, welcoming, generous attitude. This is a man who truly loves his craft. It is made obvious in his careful attention to preparation, his meticulous selection of ingredients, and his keen eye for presentation, all of which bring back customers again and again.

“I think food trucks are big because they’re fun for the restaurateur and the customer at the same time.

Acadiana’s Publication for the Arts

The restaurateur can get out, meet people, and save money. The customer can find affordable, fun food at a reasonable price. And now with so many different food trucks popping up, you can find whatever you want—food trucks can be gourmet, and they can introduce customers to something new.”

Chef Gregory’s Food Truck menu features items like the Spicy Puttanesca, Louisiana Spinach Wrap, Homemade Bread Pudding, and Chef Gregory’s Award-Winning Pulled Pork, which is served with a delectable bleu cheese coleslaw, pickles, and jalapeños, all served on grilled garlic butter ciabatta bread. Entrees run about $8 and chips and drinks are also available.

You can find out where Chef Gregory’s Food Truck is serving daily by visiting https://www.facebook.com/ ChefGregoryFoodTruck/. The food truck is open Tuesdays-Fridays from 10:00 AM-2:00 PM and Saturdays from 8:00 AM-2:00 PM. Chef Gregory can also be found at The Tap Room in River Ranch (201 Settlers Trace #401) seven days a week from 5:00 PM-10:00 PM. His famous pulled pork sandwich can be found there as well, in addition to Pulled Pork ROCK STAR Nachos, Farmer’s Market Garden Salad, and much more. Bon appétit!

November 2013 51

Community Seauxcial

Tinsel & Treasures Santa’s Soiree September 25, 2013 The Junior League of Lafayette kicked off their 20th Annual Tinsel & Treasures event with their Santa’s Soiree on Wednesday, September 25.

Entertainment included live music from Louisiana Red, a fabulous silent auction and a thrilling champagne raffle. Guest enjoyed delicious food, drinks and got a sneak peek of the amazing vendors the 2013 market had in store.

52 November 2013

Overture Magazine

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November 2013 53

Community Seauxcial

Dancing with the Stars October 9, 2013

Photos Š Danny Izzo, Nouveau Photeau

Schools of the Sacred Heart held their 2nd Annual Dancing with the Stars premier fundraising event on Wednesday, October 9. The winners were Father Howard Blessing and Angie Davis. The fan favorites were Beth Baumer and Shannon Cain.

54 November 2013

Overture Magazine

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Acadiana’s Publication for the Arts

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November 2013 55

Standing Ovation

It has been said “it takes a village to raise a child,” and the Acadiana Conservatory of Music could not agree more. Many people from all walks of life come together to support our students. The following individuals, companies, and foundations have immeasurably impacted Conservatory students by underwriting their musical studies. Our generous supporters enable the Conservatory to provide scholarships and financial aid to students and families as they embark on musical journeys. We are so grateful. Merci!

McDonald’s of Acadiana Mr. and Mrs. William P. Mills Moody Foundation New Life Foundation Nouriche Wellness & Aesthetic Center Mr. and Mrs. Roland Pautz Pinhook Foundation Anne and Bill Pyle Mr. and Mrs. David Reid Dave Romagosa Southern States Offshore Stone Energy Dr. and Mrs. John M. Storment Stuller Foundation Target Corporation United Way of Acadiana Jim Welch, Inc. The Ernest F. & Carol Wong Foundation

kurhan / Shutterstock.com

Acadian Ambulance Acadiana Center for the Arts Jeffrey Benton Cullen Investment Group Crowley Rotary Anne and Walter Dobie Falcon Rice Mill Entergy Mickey and Lindsay Finley First National Bank Pam and Tony Fontenot Dr. Carolyn French Fugro Chance Graham Group Mike Huber IBERIABank Lafayette City-Parish Consolidated Government Mahtook & Lafleur, LLC

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Privilege entails responsibility and we feel privileged to provide this wonderful opportunity to enable our area students to hear great music.

It is an honor to give back to the community a part of the blessing we have received. –Anne & Eddy Knight June 1, 2002

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November 2013 57

Symphony Seauxcial

Bridget Kibbey Concert October 6, 2013

Photos by Nouveau Photeau

Harpist Bridget Kibbey treated the ASO audience to an uplifting concert on Saturday, October 6th at the Acadiana Center for the Arts. Maestro’s Circle members mingled, enjoyed chocolates and sipped on champagne before Kibbey, accompanied by the ASO Chamber players, demonstrated that the harp is not just a delicate, angelic instrument, but a force to be reckoned with! Guests were delighted to meet Bridget and enjoyed the opportunity to visit with such a dynamic artist after her masterful performance.

58 November 2013

Overture Magazine

Schools of the Sacred Heart Presents

Christmas at Coteau Join Schools of the Sacred Heart for Christmas at Coteau 2013 as we celebrate the season with friends, family, alumnae, and students on the historic grounds of Sacred Heart.

This year’s schedule of events includes all of the fun and dazzle of the Holiday Market, Breakfast with the Saints, Gala on the Grounds, and a gourmet luncheon featuring the cuisine of Ruffino’s on the River.

Enjoy a new event for kids, Cookies at Coteau.

December 6 & 7, 2013 Holiday Market

Friday, December 6, 2013 9:00am - 4:00pm Saturday, December 7, 2013 9:00am - 3:00pm Admission $8 per person

Gourmet Luncheon

Featuring Ruffino’s on the River Friday, December 6, 2013 First Seating 11:00am Second Seating 1:00pm Ticket includes entrance to Holiday Market Reservations required $50 per person, General Seating $375 per table of 8, Reserved Seating

Breakfast with the Saints

Saturday, December 7, 2013 9:30am Featuring Jolie’s Louisiana Bistro Breakfast and Guided Tour of Historic Campus Tickets include entrance to Holiday Market | Reservations required Tickets $25 per person

Cookies at Coteau

Saturday, December 7, 2013 10:30am - 12:30pm Children ages 4-10 can enjoy cookies & carols with Mrs. Clause while parents enjoy the Holiday Market.

Photos with Santa available for all children.

Tickets $10 per person

Gala on the Grounds 1821 Academy Road | Grand Coteau, LA 70541 337.662.5275

Saturday, December 6, 2013 6:00pm - 11:00pm Live Music, Food, Cocktails, and Live Auction with Fred Mills auctioneer $100 per person

*All events are held on the historic grounds of Schools of the Sacred Heart

For tickets and reservations, visit www.sshcoteau.org Acadiana’s Publication for the Arts

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60 November 2013

Overture Magazine