Add your event to Arts Daily!
The South Carolina Arts Commission's arts calendar, Arts Daily, has joined forces with The Hub. Now you can visit one place to view or submit arts news AND events!
Long-time Arts Daily users will notice that the revamped event submission process is simpler. You can also add your arts venue (if you haven't already) to The Hub's venue list through the Arts Daily submission process. Online readers of Arts Daily can search and sort events to find activities based on location, art form or type of event.
Is your event or opportunity right for Arts Daily? If it's arts-related, open to the public, and of interest to people in South Carolina, then yes! Event types include auditions, calls for entries & contests, classes, conferences, exhibitions, fellowships & residencies, openings, book signings, performances, screenings and more. You'll choose the type when you submit your event or opportunity.
To submit arts events to Arts Daily, use the Submit Events button. (Be sure to submit your event at least one month in advance.) If your event has an interesting news element, you can also send it to The Hub through the Submit Story button. Arts events submitted at least one month in advance will appear on the Arts Daily website, and some will be recorded for radio.
How to decide what to submit where
Submit Event to Arts Daily:
Arts Daily listings and radio announcements are limited to the key details and a brief description of your event and will direct readers to your website or organization for a lengthier description.
Arts events submitted at least one month before the event will be posted to the online Arts Daily calendar. Not all events are recorded for the radio. The earlier you submit, the longer it will appear on the Arts Daily site for readers to find and the better chance the event will be recorded for radio. You can even submit an entire season at once!
Submit Story to The Hub:
If your event has a news component, you can also submit a lengthier article or news release through The Hub's Submit Story button. Story submissions, if accepted, appear as articles on The Hub's main page and "roll off" the page as other articles are posted -- the lifespan of a Hub article is much shorter than an Arts Daily entry. Hub articles will direct readers to your website or organization for more information.
What makes an event newsworthy?
A few questions to ask: Does the event relate to a larger purpose (e.g., an artist's studio or gallery opening is a result of the arts reviving a downtown, a celebrity S.C. artist is participating to raise awareness and/or funds, a student exhibition illustrates the benefit of arts education, etc.)? Is this a first time for the event, or a milestone anniversary? Did the project break an attendance or fundraising record? Sometimes the news element occurs after an event when you're ready to share results and photos.
arts events to Arts Daily, at least one month in advance. Submit more info about your event to The Hub ONLY
if there is an extra news element.
Remember, you may also use the Submit Story button to send your feature articles, blog posts, stories, etc. about arts topics other than events.
Writing your Arts Daily Event Description
Arts Daily web listings and radio announcements are designed to provide the most vital pieces of information about your event or opportunity and refer users to ArtsDaily.org and/or to your website or organization for details. We encourage you to use your Event Description space to provide a self-contained, factual summary of your event or opportunity. ONLY the text in the Event Description field will be used in your radio announcement, should your submission be chosen for broadcast.
What to include in the Event Description:
What not to include in the Event Description:
- The name of the event or opportunity and a brief description of it
- Who is responsible for it (hosting or presenting organization)
- Where (venue and city)
- When (date and time)
- Cost to participate
- Deadline for the public to participate (e.g., registration, submission), if applicable. (Note: This is not a deadline for posting on Arts Daily.)
Want a template? Try this:
- Contact information. Radio announcements will direct listeners to the Arts Daily website where you have entered this information.
- Superlatives (such as “the best,” “beautiful,” “a great achievement,” etc.) will be excluded from the final listing.
(Name of the presenting or host organization) presents (name of the event), (event date) at (event time), at (event venue) in (city, and state if not South Carolina). (Provide a description of the event, so that Arts Daily users will understand what it is and whether or not they would like to attend.) Tickets are (cost). (Provide registration and/or submission requirements and/or deadline, if applicable.)
Questions? We're happy to help. Contact us here.
About Arts Daily
Arts Daily is a partnership between the South Carolina Arts Commission, South Carolina ETV Radio, and the College of Charleston.
African-American Voice exhibition travels to Augusta, Ga.
Citizens in Aiken and surrounding areas have the opportunity to view works by African-American artists who are among the state’s best-known and widely celebrated practitioners. The African-American Voice exhibition runs August 1 through October 4, 2015, at the Morris Museum of Art, located on the Riverwalk (1 Tenth Street) in downtown Augusta, Ga.
Coordinated by Harriett Green, visual arts director at the South Carolina Arts Commission, the exhibition includes 40 pieces of artwork in all media from the State Art Collection. The pieces are by 25 African-American artists who range from self-taught, outsider artists such as Richard Burnside, Leroy Marshall and Dan Robert Miller, to academically trained artists with established careers such as Leo Twiggs, Arthur Rose and Tarleton Blackwell.
“A number of these artists are legendary as arts educators as well. Their influences and contributions extend beyond image and object making,” said Green, who sees the show as an opportunity for area residents to learn more about the contribution of African-American artists in South Carolina.
A preview of The African-American Voice artwork is available online.
The museum is open Tuesday through Saturday from 10 a.m. until 5 p.m. and Sunday from noon until 5 p.m. For more information, call (706) 724-7501.
Organizations and businesses interested in hosting an exhibition or displaying works from the State Art Collection should contact Harriett Green at (803) 734-8696. In addition to The African American Voice, two other traveling exhibitions are available: Contemporary Conversations and Points of Departure: Vessel Forms from the State Art Collection.
(Images are works from the exhibition. Click on each image for more information.)
About the State Art Collection
The State Art Collection is considered the most comprehensive public collection of works by contemporary South Carolina artists. Established in 1967 as one of the first programs of the South Carolina Arts Commission, the State Art Collection has grown to include 493 works in a variety of media and styles by 287 South Carolina contemporary artists. Small exhibitions featuring work from the collection are organized on a regular basis for rural and isolated areas inside and outside of the state. Works from the State Art Collection are available for loan to art museums, state agencies, and public and private organizations for the purpose of public exhibition or public display. The collection is supported in part by the South Carolina Arts Foundation and First Citizens.
Columbia high schoolers find their voices at Project Opera Camp
From The State
Article by Sarah Ellis, photos by Tracy Glantz
COLUMBIA, SC “The most important thing is don’t stop singing.”
It’s OK to make mistakes, Brenton O’Hara assured the performance cast. But they can’t let the audience see it in their faces, and they must not stop singing.
Sure, there would be mistakes for the dozen high schoolers who, in the span of just two weeks, had learned to sing and choreograph a 15-minute opera. It’s been a steep learning curve for the teens, most of whom had never even seen an opera, much less performed on a public stage, before attending Project Opera Camp.
A first-year program co-founded by University of South Carolina graduates O’Hara and Kate McKinney, the two-week Project Opera Camp has given campers a crash course not only in the arts of opera and on-stage performance, but in self-esteem and life skills.
“Within the opera performance itself, there’s just intrinsic value. Music, it warms your heart,” McKinney said. “You have to be assertive in your presentation when you’re on stage in front of people. You’re making yourself vulnerable. You’re putting yourself out there.”
The camp was born from McKinney and O’Hara’s $20,000 prize-winning pitch in USC’s Proving Ground entrepreneurship competition last fall.
The pair had witnessed the benefits musical performance can instill in children while directing an opera during McKinney’s senior year at USC. Both voice-performance majors in college, they wanted to continue spreading the good of the art form, particularly to young people who might not ordinarily be exposed to it.
As a result, Project Opera Camp was offered for free to all of its students, many of whom come from schools with large populations of students receiving free and reduced lunches, traditional indicators of poverty.
Augmented by life skills workshops on topics such as college readiness, money management and entrepreneurship, the bulk of the camp focused on voice lessons and rehearsing songs and choreography.
“People throw the word ‘opera’ around, and you immediately have the idea in your head of, like, the fat lady in the viking hat or something that’s elitist and unapproachable,” McKinney said. “But for the most part, when you really delve into the art form, it’s very accessible. It tells stories. Storytelling is inherently human, and opera does a wonderful job of telling the story through music.”
On Thursday, a day before their culminating public performance, 13 campers started rehearsal with a full run-through, punctuated by occasionally forgotten lyrics and fumbling dance steps. But the progress they had made in just under two weeks was evident, and their confidence grew visibly with every repetition.
The campers’ rendition of “Inner Light,” an abbreviated performance of the children’s opera by composer Roger Ames, features a loose story reflecting the nature of love and relationships.
The music, “takes you into a whole other world,” said Xavier Thompson, an 18-year-old who was encouraged by his Columbia High School music teacher to participate in the camp.
“You shall be simple, you shall be right, if only you follow your inner light,” the chorus sang in harmony, somewhat timidly in an early trial then with more boldness as the rehearsal wore on.
“I think it sort of encapsulated what we were trying to do (through the camp),” O’Hara said of the opera selection. “Your inner voice has value, and learning how to share it – not just singing, but all these other (skills), too.”
The camp has been a self-esteem-building experience for a number of the campers.
“My confidence has gone from a ‘one’ to a solid ‘nine,’” 17-year-old Haley Brown said.
At the end of the week, 17-year-old soloist Maria Streater was still not entirely comfortable being in the spotlight, she said. Her voice, though, wowed her peers.
“I don’t know what you have to be nervous about,” 16-year-old Quest Morris told her in between rehearsals Thursday.
Stepping forward during a run-through, Streater fixed her eyes ahead of her and took a confident breath.
“I used to dream I was a bird flying high above the earth,” she sang out loudly, clearly, not a quiver in her voice. “And with my wings I’d catch the air and fill it with my song.
IF YOU GO
Project Opera Camp will perform “Inner Light” Friday (July 31) at 7 p.m. at the Columbia Music Festival Association, 914 Pulaski St., Columbia.
The performance is free and open to the public. Doors open at 6:30 p.m., and seats are first come, first served.
Donations will be accepted at the door from anyone wishing to support the camp’s future programming.
For more information, visit www.projectoperacamp.org.
Image: Camp director Kate McKinney, left, and choreographer Anna Dragoni, offer suggestions during a rehearsal at Project Opera Camp. The camp, in its first year, was started by two USC graduates to offer a music camp that also focuses on life skills, for students who might not otherwise be able to attend such a camp.
Job opening for Folklife and Traditional Arts Coordinator
The traditional arts are art forms and practices that contribute to the shared identity of a particular group. Pictured: chair caner Bobby Rutland of Winnsboro, S.C.
McKissick Museum at the University of South Carolina and the South Carolina Arts Commission invite applications for the position of Folklife and Traditional Arts Coordinator. The two organizations partner to administer the state's Folklife and Traditional Arts Program. The coordinator is a McKissick employee.
The Folklife Program Coordinator works closely with the McKissick Museum's Curator of Folklife and Fieldwork and the staff of the South Carolina Arts Commission to administer an ongoing grants program that supports development of quality folklife and traditional arts programming, a statewide Traditional Arts Apprenticeship Initiative, the annual Jean Laney Harris Folk Heritage Award and the S.C. Folklife Resource Center-related public programming.
- Knowledge of the field of traditional arts, as well as cultural/heritage tourism issues.
- Experience in managerial level program operations, organizational development and strategic planning.
- Experience facilitating group processes (meetings and panels) and working effectively with culturally diverse community organizations and individuals in developing projects/proposals, including providing technical assistance in documentation of support materials.
- Public speaking skills and experience delivering folk arts education to public audiences.
- Ability to develop partnerships, nurture collaborations, and work congenially and effectively with diverse constituencies in the public and private sectors, other Museum staff and departments while working well within and understand state university regulations.
Bachelor's degree and three years related experience in business management, administrative services or related field; or equivalency.
BA degree in American Studies, anthropology, cultural geography, ethnomusicology, folklore, history, performance studies or related discipline and three years of work experience, two of which must have been in public sector or a related work area; or M.A. degree in American Studies, anthropology, cultural geography, ethnomusicology, folklore, history, performance studies or related discipline and one year work experience. Proficiency in MS Word, Access, and PowerPoint. Familiarity with Adobe programs such as Photoshop, InDesign and Audition. Some knowledge of Final Cut Pro and video editing preferred. Preferred fluency in Spanish.
Find out more on USC's jobs page
. Click "Search Postings," and then select McKissick Museum as the Department.
Conductor sought for new series: YOU
Air conductors of all skill and experience levels are hereby on notice. From this September through next spring, the South Carolina Philharmonic is rehearsing, then heading off the stage and into the community with the interactive and engaging new “Conduct the Phil” program, funded by a grant from the Central Carolina Community Foundation.
Music moves many to start conducting spontaneously in the car or office, but have you ever thought you’d like a chance to conduct a professional orchestra? If you said “yes,” start practicing.
“Conduct the Phil” improves the popular flash mob experience by making it interactive. In the process, it will connect around 100,000 people in the region with the S.C. Phil and each other by virtue of a unique shared experience at six free concerts in vibrant social settings where the Midlands gathers: the S.C. State Fair, Orangeburg’s Festival of Roses, Irmo’s Okra Strut, the Kershaw County Farmers Market, and Soda City Market twice.
The first concert is at the Irmo Okra Strut, Friday, Sept. 25, 2015, from 7 to 8 p.m, kicking off the largest-scale audience/community-engagement initiative in the S.C. Phil’s 52-season history.
As passersby enjoy these festivals, they’ll encounter around 20 S.C. Phil musicians set up as if on stage, with music stands, chairs, and a podium and baton for the conductor – who will be conspicuously absent. On Music Director Morihiko Nakahara’s music stand will be a sign that reads, “Conduct us!” As brave volunteers take turns picking up the baton, the assembled orchestra will begin playing a surprise tune to whatever tempo the volunteer conductor sets.
Music will include patriotic works and popular classical repertoire such as Mozart’s Eine kleine nachtmusik, Pachelbel’s Canon in D, and the opening of Beethoven’s famed Fifth Symphony. The orchestra will perform at each location for an hour as members of the public take turns at the podium.
The Central Carolina Community Foundation’s generous, $24,000 grant funds most of the new program’s $30,000 cost, with the S.C. Phil covering the rest.
From MORIHIKO NAKAHARA, S.C. Philharmonic Music Director
“What we've experienced from adapting the ‘Link Up’ concerts in the recent years is the power of audience participation and audience/performer interaction. ‘Conduct the Phil’ is a fun way for people of all ages and backgrounds to experience what I am fortunate to experience every time I step in front of an ensemble. You are placed right in the middle of all the musical action, perhaps similar to being right on the sidelines during a football game as opposed to watching it from the stands or on TV. If you are adventurous, feel free to experiment – make the orchestra go faster, slower, louder, softer, etc.”
From JOANN TURNQUIST, President and CEO of Central Carolina Community Foundation
“Central Carolina Community Foundation is proud to support the South Carolina Philharmonic with an inaugural Connected Communities grant. The grant we’ve awarded will help this organization promote a more welcoming and vibrant community by engaging our community in the music making process. We are delighted to provide funding for the ‘Phil’s’ unique concert series.”
About the S.C. Philharmonic
An independent 501(c) (3) non-profit organization founded in 1964, the South Carolina Philharmonic entertains, educates, enriches and excites diverse audiences through live symphonic music. The introduction of Music Director Morihiko Nakahara in 2008/2009 ushered in a New Era of Artistic Excellence that is allowing the orchestra to move forward and become the Midlands pre-eminent performing arts group.
Image credit: Improv Everywhere
Via: S.C. Philharmonic
Carolina Master Chorale seeks executive director
The Carolina Master Chorale in Myrtle Beach, S.C., is searching for a part-time executive director to oversee the administrative duties of this volunteer nonprofit organization. Applicants should have a background in business administration, as well as a love for the arts, and a willingness to be the public face of the Chorale. Responsibilities include development, marketing and promotion, office management, administrative support, and the ability to cultivate and nurture relationships within the community to provide funding.
The executive director will be an independent contractor who receives a monthly compensation based on approximately 15 hours per week.
Interested candidates should send a resume and qualifications to Mary Rife, president of the Board of Directors, at firstname.lastname@example.org.
About the Carolina Master Chorale
The mission of the Carolina Master Chorale is to promote the choral art, present exceptional performances of choral music, enhance arts education and enrich the cultural lives of our members, audiences and the coastal Carolina community.
Via: Carolina Master Chorale
“Influential, less-familiar” blues singer Josh White to be honored with sculpture in Greenville
From The Greenville News
Article by Donna Isbell Walker
Josh White on the CBS radio show “Back Where I Come From,” October, 1940. Photo: CBS Photo Archive/Getty Images
Blues singer Josh White’s influence spanned continents and generations.
Before he became a musical innovator and civil rights activist, White was singing on the streets of Greenville to help ease his family’s desperate poverty. He left the Upstate as a teenager in the early 1930s. A decade later he became the first African-American entertainer to give a command performance at the White House.
Despite his million-selling single “One Meatball” and the postage stamp that bears his face, White’s name isn’t as familiar as those of other blues musicians. His impact, though, is undeniable. Musicians like Bob Dylan, John Fogerty and Jack White all were influenced by his Piedmont style of blues.
And now, a committee of Greenville residents is determined to keep White’s memory alive in his hometown. Soon, White, who died in 1969, will join such luminaries as Charles Townes, Joel Poinsett, “Shoeless” Joe Jackson and Peg Leg Bates with his own statue in downtown Greenville.
The same group that spearheaded the Bates statue is raising money to create a bronze sculpture depicting the phases of White’s life and career. When it’s completed, the three-paneled piece will be located on River Street, in the third phase of the Riverplace development.
The Peg Leg Bates sculpture, located at Spring and Washington streets, inspired the group to look for other artists whose impact extended far beyond the South Carolina border, but who were underrated or unsung, said committee member Dale Perry.
“We were trying to come up with names of people who had made contributions; who, to many people, are footnotes in history,” Perry said. “Rather than doing the headline historians, we wanted people who contributed to Greenville, although much of it, like Peg Leg Bates, was done from New York and around the world. ... And Josh White was a name that people kept talking about.”
White also is a subject of artist Jacob Lawrence’s “The Migration Series,” now on exhibit at New York’s Museum of Modern Art; his work linked with that of author Richard Wright and singer Billie Holiday.
But closer to home, White will be memorialized on a bronze-relief triptych, six feet tall by eight feet wide, on a base of black granite.
The city’s Arts in Public Places Commission has pledged $25,000 in matching funds for the project, estimated to cost between $122,000 and $125,000. Organizers hope to unveil the sculpture in early 2017.
Sculptor Joseph Thompson, chairman of the visual arts department at the South Carolina Governor’s School for the Arts and Humanities, designed the piece.
Each panel will represent a phase of White’s life and career. The left panel will be dedicated to the White’s early years in Greenville. The center panel focuses on “the apex of his career,” particularly White’s years in Europe, Thompson said. And the right-hand panel will explore White’s activism and civil rights work, including his blacklisting by the anti-Communist House Un-American Activities Committee.
Flowing through each panel is a ribbon-like image, connecting the phases of White’s life and calling to mind the Reedy River as a symbol of Greenville.
“I have been interested in some time in relief sculpture, and we don’t have a great deal of relief sculpture in Greenville,” Thompson said. “The relief sculpture is useful because it has an opportunity to create a narrative and to use imagery in an artistic and poetic way and relate that to the person you want to commemorate.”
The components are linked by a nuts-and-bolts structure that connects the piece to Greenville’s textile history and “the grittiness of Greenville in the early 20th century,” Thompson said.
The rear of each panel will feature more text exploring Piedmont blues, as well as the role of blues in the evolution of rock ’n’ roll.
“We’re able to see how the richness of the black community has contributed to the richness of the culture that we have today,” Thompson said. “And that’s why I’m excited about it.”
Sean Scoopmire, vice chairman of the city’s Arts in Public Places Commission, is excited that such an influential yet less-familiar person will be honored.
“It’s really wonderful that the citizens committee is working so hard to remember Josh White,” Scoopmire said. “This is a story that I didn’t know about until they presented it to me. I think it’s a story that a lot of people didn’t know about. And it is something that’s an incredible part of Greenville’s past.
“Really, Josh White overcame an incredible amount of adversity in his life, growing up in the Sterling community, and he rose to international fame as a musician in the mid-20th century.”
For information about contributing to the non-profit organization raising money for the Josh White sculpture, call 864-282-3694
Tri-District Arts Consortium celebrates 30 years of providing arts to Midlands students
Article by Kelly Petty, photos by David Mitchell
Ellie Rose Feuerstein can’t remember when she wanted to become an actress but says she felt a spark when she danced in front of a crowd at Disney World when she was 3 years old. The rising ninth-grader has taken dance, attended camps, sings and even plays the guitar. But an opportunity to join Tri-District Arts Consortium has helped her demonstrate her strength as a performer and as a person.
“Tri-DAC has really helped me become a better singer, actor and dancer,” she said.
The jazz ensemble performs.
Tri-District Arts Consortium, known as Tri-DAC, was founded in 1985 by a group of teachers in Lexington One, Lexington-Richland Five and Richland Two school districts. Those teachers were looking to give middle school students the chance to hone their passion and talent for the arts.
The program, now in its 30th year, is celebrating its new home at Richland Northeast High School’s Palmetto Center for the Arts and its place as a stomping ground for future artists, musicians and actors.
“The idea was to give more in-depth exposure to specific art areas for students who had shown talent in one or more areas of the arts. Oftentimes, when a student is gifted in one area … they may also be gifted in other areas,” said Stephen Hefner, superintendent of Lexington-Richland Five and one of Tri-DAC’s founders. “So, we wanted something that gave them exposure to a broader range and more art forms than just the one that maybe they were most interested in.”
The program originally started off with a cohort of 150 gifted and talented students who spent their summers on the campus of Columbia College. Hefner, who was with Richland School District Two at the time, said the women’s college provided a neutral spot for students from the three districts to meet.
“We met with the president of Columbia College, who was Dr. Ralph Mirse,” Hefner said. “We approached him and said it would be good to have a location that wasn’t identifiable with one district alone.”
The summer program now hosts about 450 students a year.
For 23 years, students visited Columbia College to study dance, music, theatre and visual art. The program grew during that time, earning the Elizabeth O’Neill Verner Award for arts education in 1991 and adding creative writing in 1995. The program eventually was invited to join Richland Northeast’s arts magnet program in 2009.
“This is the same high energy, high spirited, exciting place it has always been since we opened the doors,” said Executive Director Donna Wilson, who has been with the program since its inception. “The vision behind it is really spectacular. The program has become a model for other consortia in South Carolina.”
Rising sixth-graders through rising ninth-graders are eligible to take part in the program. Students can be nominated by a teacher, parent or themselves, and they must go through a rigorous audition process. Experience is not necessary to be admitted, Wilson said.
Students spend the the first three weeks of July taking classes and finish with a showcase festival at the end of the program.
Tri-DAC taps into professional talent nationally and internationally to give students an opportunity to be trained from the best in their fields of study. This year, world-renowned artists Giorgos Mitsis from Greece and Shirou Shirai from Japan were invited to conduct classes with the students.
“What we want for every child is that they be a great supporter of the arts,” said Diane Gilbert, a 10-year theater co-director for Tri-DAC.
The program also boast a dedicated staff, many of whom have been participating for more than a decade.
“ work with a wonderful staff who’s so committed, who overworks,” said Cindy Flach, a dance instructor in USC’s dance and theater program who has been with Tri-DAC for 22 years.
Wilson said she has seen students go on to attend the Governor’s School of the Arts, study their craft in college and pursue professional careers.
Edmund Bagnell studied strings and theater in the program, and he studied at the Governor’s School before heading to New York University’s Steinhardt School of Music. Bagnell eventually went on to play Tobias in the national tour of “Sweeney Todd” and formed his own classical string quartet Well Strung.
Chryssie Whitehead studied dance and theater and eventually earned the role of Christine in the Broadway revival of “A Chorus Line.” She has been featured on television and film.
“It’s just exciting for the students to have this opportunity to discover their potential,” Wilson said.
The success stories are why Hefner thinks Tri-DAC is a “an outside-the-box idea” that has benefited the students who participate as well as the whole community.
“We also believe that art adds value to everyone’s life, whether they choose a career inside the arts or not,” Hefner said. “We hope Tri-DAC and exposure to the arts will enrich all their lives.”
Feuerstein, much like Coco Hernandez in the film “Fame,” wants people to remember her name. She plans to continue studying theater when she heads to Blythewood High School this coming school year, and she wants to focus on singing and guitar. She said she hopes those who come behind her in Tri-DAC take advantage of the program.
“Don’t be afraid to try something new because in the end it will pay off and you’ll have an amazing time and an amazing experience,” she said.
Early career African-American artists invited to apply for $25,000 William H. Johnson Prize
William H. Johnson, c. 1918
The William H. Johnson Foundation for the Arts is a nonprofit, tax-exempt organization that seeks to encourage African American artists early in their careers by offering financial grants. The Johnson Foundation awards grants to individuals who work in the following media: painting, photography, sculpture, printmaking, installation and/or new genre. The 2015 William H. Johnson Prize is $25,000 and the winner will be announced in December 2015.
The William H. Johnson Prize is awarded annually to an early-career African American artist. For grant purposes, "early-career" is a flexible term that should be interpreted liberally to include artists who have finished their academic work within 12 years from the year that a prize is awarded. For example, a person who finished their studies in 2003 is eligible to apply in 2015, but not in 2016. Age is not determinative, and artists who have not earned BFAs or MFAs are still eligible so long as they have not been working as a professional artist for more than 12 years.
The application deadline is Friday, Sept. 18, 2015, at 5 p.m. All applications must be submitted online.
Find complete guidelines and apply online.
About William H. Johnson
William H. Johnson (1901-1970) is known primarily for his majestic Scandinavian landscapes and his witty and poignant scenes of African American daily life. Johnson, an African American from the rural South Carolina, overcame poverty, racial prejudice and a grade-school education to become one of the country's leading artists. Through the force of his personality and with a steadfast belief in himself, Johnson created an art entirely his own, original and fresh.
Via: William H. Johnson Foundation for the Arts
SC Book Festival canceled for 2016; new statewide literary initiatives in the works
From The State
Article by Mindy Lucas, photo by Tim Dominick
One of the biggest literary draws and book events of the region is being canceled in favor of new statewide programming, organizers say.
The almost 20-year-old S.C. Book Festival held in the spring will give way to new, literary offerings that will be available “...in every corner of the state” officials with the Humanities Council of South Carolina said Thursday morning.
Widely considered one of the Southeast’s premiere literary events, due in no small part to its variety of offerings, the book festival usually brings about 6,000 visitors to the Midlands each year.
Festival director T.J. Wallace, who also works for The Humanities Council, said she could understand why those in the literary community — including some of the 60 to 70 volunteers who regularly help with the event each year — might be disappointed.
“This decision was not made lightly,” she said. “Many have put a lot of blood, sweat and tears into it. It has been a wonderful event, but we’re excited about this new opportunity.”
Wallace denied that the board of director’s decision to discontinue the Columbia-based event had anything to do with funding or the expense of hosting the free event, which on average ranged from $180,000 to $210,000, saying only that the decision had to do with the organization’s core mission “to enrich the cultural and intellectual lives of all South Carolinians.”
“As the state program for the National Endowment for the Humanities, the council is mandated for the state, not just the Midlands,” she said.
Executive director Randy Akers said the festival “will evolve” into a new set of literary initiatives that will be available year-round and “reach a wide and diverse audience in every corner of South Carolina.”
“South Carolina has a rich literary heritage that The Humanities Council S.C. wants to celebrate and share, and these new programs will expand and diversify literary opportunities in South Carolina,” he said.
The new initiatives, Akers said, will include a literary speakers bureau featuring authors and writing instructors who can travel across the state for public programs; a fast-track literary grant opportunity for statewide organizations for writers series, festivals, conferences, workshops, or artist residencies; and a literary track at the annual South Carolina Humanities Festival, which is hosted in a different town each year.
Attendance had also fallen off somewhat from previous years. Last year’s festival drew close to 6,500 people while this year’s festival only drew about 5,000.
While Wallace said the council had received inquiries as to whether the festival could be moved around the state to different regions, ultimately the board decided to design new initiatives that could roll out as early as this fall, that would have a wider reach and even serve rural and under-served communities.
“We certainly hope that the new literary programs we’re planning would bring things to say Dillon... or Gaffney or those communities that don’t allow us to reach for literary programming.”
Wallace said the council hopes the new programming will have an even greater impact across the state. “Instead of spending 9 to 12 months planning for three days, we’re hoping that now we’ll be planning literary events monthly, weekly and all around the state.”
Still, many in the literary community were surprised and disappointed to hear the news of the festival’s discontinuation.
University of South Carolina English Department professor Elise Blackwell said she was “deeply sorry” to hear the book festival was being canceled. Blackwell, an author and host of USC’s own popular author series, “The Open Book” said that the book festival “helped put Columbia on the national literary map.”
“It was an event I valued even more as a reader than as a writer. (It) was also a wonderful resource for local students of all ages. My hope is that it will be restored.”