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Syracuse Venacular Photgrapher Wilkins featured in Light Work Exhibition

By: PennyMaria Jackson

Twenty black and white vernacular photos documenting African-American life in Syracuse hung on the walls at Light Work on Waverly Avenue as a constant stream of admirers studied them on November 13.

The photos, taken by local documentary photographer Marjory Wilkins, were featured during the Light Work Grant project exhibit which awards three Central New York artists partial funding and space at Light Work to display their projects each year. A recipient of this year’s Light Work Grant, photo historian Nancy Keefe Rhodes was awarded a $2,000 grant to restore a few of Wilkins’ thousands of photos, many of which were taken between the 1940s and 1970s.

Rhodes had been working with Wilkins since 2005 and the two were contemplating publishing a book of Wilkins’ photos. “The grant allowed us to make this big surge forward,” Rhodes said on a phone interview after opening night. “It’s been a long process and this has allowed us to accelerate that.”

Although Wilkins has had a few shows at the Community Folk Art Center, the Onondaga Historical Association and the Onondaga County Library, Rhodes felt that Wilkins’ photos deserved more exposure she said. “I did this project not only to bring greater interest to her work, but because I think her work represents something that people aren’t paying attention to,” Rhodes said.

Dr. Kheli Willetts, academic director at the Community Folk Art Center believes that Wilkins’ work has a lot to say about African-Americans’ history in Syracuse.

“It validates the fact that they’ve had a presence,” Willetts said with an intense facial expression at Light Work on opening night. “There’s an opportunity for people to understand the African-American Syracuse. Maybe when they think of Syracuse of old, they may not consider the different communities of color and here you have a glimpse.”

One of the photos from the exhibit that held viewers eye more than others was “Gloria on Motorcycle” in 1949 shows a woman dressed in a two toned suit posing next to a motorcycle. Wilkins photographs would be considered by many to be in the genre of vernacular photography and therefore undeserving of being regarded as art.

In a book titled “African-American Vernacular Photography: The Daniel Cowin Collection,” artists Brian Wallis and Deborah Willis wrote essays to accompany 66 vernacular photos of African-American life between the mid 1800s and 1900s featured in an exhibit in 2006.

In Rhodes’ essay in the exhibition’s catalogue, she had this to say in response to Wallis. “As vernacular photographs, they have been framed as unschooled, local, everyday images with, as Brian Wallis describes still-prevailing notions, ‘no apparent aesthetic ambition.’” Later in that same essay, Rhodes explained that, “defining photographs as merely vernacular can undervalue an entire picture taking community into which photographers like Marjory Wilkins are born, a community that initiates its youngsters with role models and mentors, abundant examples, early exposure of practice and a fluent gasp of composition.”

Kheli Willietts, who is usually surrounded by exhibitions at the Community Folk Art Center on a daily bases believes that in order for vernacular photography to be appreciated there must be a change in people’s perceptions. “The notion of who is considered to be an artist needs to be redefined and interrogated,” Willets said. “Here you have a woman who’s been taking photos since she was 12 years old and doesn’t consider herself an artist. Not only was she documenting her life, but also documenting a community without even knowing it. And because she has such a beautiful eye when she takes pictures she was engaging in a practice of art that I don’t think she anticipated.”

In “The Accidental Masterpiece,” Michael Kimmelman notes that although amateur photographers may have no formal training, meaning and purpose can be found in their photos. “Memory and hope, past and future; snapping a picture with a Kodak, like painting a picture with a brush and canvas is a way to leave a mark for posterity, a trace of one’s self,” Kimmelman wrote.

Because Wilkins had been photographing for nearly 70 years, her work is historical for both the African-American community and in Syracuse as a whole. Throughout the night more and more people walked down the hall and gazed at Wilkins’ photos. Although one person after another, sometimes after waiting in a short line, greeted Wilkins and spoke to her about the value of her work, she remained humble. “I enjoy taking pictures of my friend,” Wilkins said resting on a bench toward with her black camera clutched between her hands. “I didn’t know they were going to be historical. I just did it. I feel very fortunate to have been around, kept them and passed them on.”

The appreciation of vernacular photography has seen an overwhelming growth in recent years, according to Rhodes. This surge in community documentary photo appreciation may have influenced Light Work Grant judges in their selection process Rhodes said.

Wilkins’ son David Wilkins, who is a photo journalist, helped Nancy throughout the selection and description process. Grants that feature vernacular photography can serve as an important tool in preserving history David said. “This is one of the things that is invaluable because no matter what happens in the future, someone will be able to come back and look at the 15th ward [a former south side neighborhood demolished by urban renewal], even though it may be limited in the eyes of one person, and say I know something about this neighborhood or this community,” David said.

Whether vernacular art gains a new definition or people change their perception of the value of it or not, there is no denying the impact it can have on future generations and even the world, Jackie Warren-Moore said during the exhibition’s opening. “The more we know about each other, the better off the world is,” Warren-Moore said expressing the importance of her statement by widening her eyes. “Art more than anything always does that. Someone of a different culture can look at one of those photos and see something in their own life and recognize the humanity in it.”

"Salt City" Serves the Syracuse Community

By: PennyMaria Jackson

A melody of seven languages chorused throughout the main stage theatre at Syracuse Stage during the opening of "Tales from the Salt City," on October 17. The cast introduced themselves in their native languages noting their native countries. There is a Lost Boy Lino T. Ariloka from Sudan, Gordana Dudevski from Macedonian, Rebecca Isabel Fuentes raised in Mexico, Cuban Immigrant José Miguel Hernández, Syracuse Native Albert Marshall, Cambodian Refugee Emad Rahim and Jeanne Shenandoah from the Onondaga Nation.

"You are going to America!" exclaimed the entire cast during one of the scenes. It was the world premier of Ping Chong's, award winning director & playwright, latest installment in his Undesirable Elements series. Chong said the series of shows is intended to promote acceptance of others. He travels to various cities creating shows based on residents' lives and came to Syracuse after he was invited by Syracuse Stage's Producing Artistic Director Tim Bond.

Seven Syracuse residents shared their experiences (chronologically) of immigrating to and living in Central New York with a virtually full house. The stage is dressed in a semi-circle rock salt pit which sparkles iridescently underneath the stage lights. Seven black chairs sit behind seven reading stands along the inner edge of the semi-circle. Preformed in a chamber reading style the performers remain stationary throughout most of the show moving only during transitions. During transitions, the performers traveled simulating their journey to and in America. Like sand drizzling through an hourglass, salt rained down in streamline concentrated amounts as they shift from one part of the stage to the other. Having a background in visual art, Chong included a projection screen behind the actors.The pictures on the screen progressed during transitions from maps of the world to family snapshots to Syracuse landmarks.

A sense of pride and disappointment in Syracuse is presented through the performers descriptions of Syracuse's history that ranges from the schooling and assimilation of Native Americans, to the Salt City industry at its height, to its role in the Underground Railroad, to the pollution of Onondaga Lake, to the Civil Rights Movement to September 11th to the development of Carousel Mall. "We are going to a country unknown to us," "My family is here, but my heart is in Macedonia," "Don't assume we are all the same," individuals chimed out during their accounts.

The dialogue is musical accompanied by claps that signify transitions and introductions of new and important topics. The claps intensify for dramatic moments like the fall of Cambodia's capital. Several native songs are performed throughout the show, giving the audience a break from the constant dialogue. Some lines were delivered in a choral manner as the performers said "We are Undesirable Elements," "Knowledge is power" and "Welcome to America" in unison.

It was evident that the performers were chosen for the depth of their stories and not according to their training as they occasionally and noticeably stumbled over lines and spoke on top of one another. However, there were some who outshined others conveying their tales with accurate intonation and expressive faces and gestures. Chong usually casts real people to tell their own stories, perhaps because the shows are in the genre of documentary theatre.

Using examples from the performers lives, the show tackled issues of war, drugs, racism, identity and stereotypes. Chong, along with co-writer Sara Zatz, recreated a rainbow of motions throughout the show. They included cringing moments such as the explosion of a woman who stepped on a land mine in a Cambodian Concentration Camp. There was also romanticism as Gordana Dudevski recounts her husband's proposal to her in Macedonia. Albert Marshall's taste of a cold pig ear sandwhich and Lino T. Ariloka's and José Miguel Hernández's first experiences with Syracuse winters served as comedic moments.

The show concluded with each performer explaining whether or not they will return to their homeland and their reasons for remaining in Syracuse if they do. Surprisingly throughout the show, the audience, which served as the other half of the semi-circle, seemed very receptive and open to the themes presented. Universal experiences of the pursuit of education, the lost of loved ones and hope for a better future suggested that we may be more like others than we think.

Syracuse Opera & the Redhouse Reaches to New Audiences with Carmen

By: PennyMaria Jackson

“La Tragedie de Carmen,” the well-known and frequently performed opera, has been adapted once again. Syracuse Opera Company made its fringe debut with “Carmen” at the Redhouse Arts Center downtown.

“The whole idea is to try to get into new spaces that might attract new people who perhaps have not enjoyed Syracuse Opera in the past,” said Douglas Kinney Frost, Syracuse Opera’s musical director.

Rather than being performed in a theater that seats 2,000, this production plays to an audience of less than 100.

Although the production has been performed with up to 300 chorus members alone, according to the Stage Director Jeffrey Tangeman, this fringe version featured only six actors with a few playing double roles.

Instead of having huge set changes or elaborate backdrops, there was one humble set with crates and crumpled paper painted black to illustrate mountainous walls. Perhaps this version of “Carmen” sounds nothing like a typical opera but it’s not. It is non-traditionally fringe and goes against the mainstream, said Tangeman.

“For us [Syracuse Opera], it’s exciting artistically and for Syracuse it brings a whole other level of what they know to be our tradition to new heights,” Frost said.

Frost, who is also in charge of community outreach, is taking several unknown avenues to attract new audiences, he said. “We’ve even talked about performing in an empty warehouse and turning it into some sort of urban stage,” Frost said. “We’ve talked with the people at Ohm night club downtown and we’re going to a barn in Skaneateles to do an opera there.”

Expanding the Opera’s audience base was one of Frost’s main focuses when he began planning the production over a year ago when he was first hired. If productions are more accessible, then funding and ticket sales may increase he said. “This is a bold step for us especially in this economy when people are pulling back,” Frost said, “we’re moving forward.”

Although Opera is one of the larger non-profit arts organizations in Syracuse, its profits can fluctuate from year to year just as smaller arts organizations like the Redhouse according to both organizations’ 990 tax returns.

Laura Austin, the Redhouse’s artistic director, worked closely with Frost from Opera to make this collaboration for “Carmen” possible. She believes working together will make both organizations more appealing to funders she said. “I think right now with the economy, and also just with how major funders are looking at arts organization, there is a big push to collaborate,” Austin said. “It means you share the bill, you share the audience, it just makes a lot of sense from a financial standpoint.”

Donations from funders are important as alone both organizations suffered a loss in direct public support between 2006 and 2005 as indicated on the tax returns. Syracuse Opera dropped form $518,384 in 2005 to $494,479 in 2006. Dramatically, Redhouse’s direct support was almost cut in half from $802,311 in 2005 to $448,568 the following year. Non-profit arts organizations in Syracuse are not alone.

This is a national trend according to Richard Florida’s “The Rise of the Creative Class.” “In many cities, museums and the ‘SOB’ (a symphony orchestra an opera company and a ballet company) have fallen on hard times. Attendance figures have declined and audiences are aging: too many gray heads and not enough purple ones.” Florida analyzed the decrease in high arts productions and gathered information explaining that “one problem is a static repertoire… one solution is to augment the experience.”

Together, Opera and the Redhouse have provided their own solution to this problem by going fringe. “We can take the man power of our organization and combine it with an organization like Syracuse Opera and it doubles the turnout,” Austin said.

For arts organizations, audience turnout is an indicator of successful productions and programs. Grants are more likely to be reinstated when they are reaching more people in the community said Laura Reeder, director of Partners for Arts Education. Although the Opera experienced a slight increase in grants and allocations from $670,403 in 2005 to $708,563 in 2006, the Redhouse lost about $50,000 when their grants and allocations dropped from $455,816 in 2005 to $403,255 in 2006 according to the organizations’ tax returns.

Because turnout can ultimately determine the livelihood of a non-profit organization, Both Frost and Austin hope that they can secure future funding by venturing into collaborations and new production styles which may attract more diverse audiences. “We wanted to hit both of our audiences, people that go to Redhouse and Syracuse Opera,” Austin said. “But we’re also trying to create a new audience who might have, in the past, been intimidated by the opera. So were trying to hit a new crowd and perhaps a younger crowd.” Students were invited to attend the dress rehearsal for “Carmen” at no charge. All they had to do was RSVP. The Redhouse’s intimate theater seats 89. 79 people responded to the invites and they all showed up Frost said.

Stage Director Tangeman, who is a theater assistant professor, said fringe is the perfect way to expose people to the arts. “The collaboration with the Syracuse Opera and Redhouse is accessible,” Tangeman said. “One of the best things you can do, whether it’s theater, opera or dance, is having art available for audiences logistically and artistically.” Another reason fringe works at attracting new audiences is because the productions aren’t stereotypical, Tangeman said. “A lot of people, when they hear opera, think of stuffy faces and Vikings,” Tangeman said. “It’s often thought of as something being stiff and not performed. None of this is like that. When you’re doing fringe work it’s not about high production values and big spectacles and chandeliers flying in. That’s not what it’s about. It’s about focusing on the work you’re doing.”

Laura Bohn, one of Opera’s resident artists, played Micaëla, a village maiden in this production of “Carmen,” enjoyed performing in the Redhouse’s intimate theater she said. “There’s a huge importance placed on human connection and real presence in the moment and not so much superficial, superior like highbrow music,” Bohn said.“On a huge operatic stage it’s another story but here, it’s all about the drama, all about the moment.”

By making intimate productions all about moments of connection, organizing artistic collaborations and taking art to the next level, Frost hopes new audience members will come back for more he said. “The companies that produce great art have financial support,” Frost said. “Money follows great art.”

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