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Seeking solace in poetry after a mass shooting

From PBS Newshour Article by Mary Jo Brooks

[caption id="attachment_26772" align="aligncenter" width="600"]Marcus Amaker Marcus Amaker is a poet, graphic artist, web designer and musician. Photo by Jonathan Boncek.[/caption] The shooting by a white supremacist at Charleston’s Emanuel AME Church in June 2015 was a wakeup call for poet Marcus Amaker. The gunman killed Rev. Clementa Pickney and eight parishioners during a Bible study in the basement. “I think that for a long time a lot of people my age thought racism was not really this tangible thing. But then when this happened at the church, it really became the most real thing that we’ve ever experienced,” said Amaker. Marjory Wentworth, also a poet, said she fell to the ground and sobbed when she heard of the tragedy. “I don’t think anyone is ever going to get over it here,” she said. “It’s part of our history now.” At first glance, the two couldn’t seem more different. Wentworth is a high-energy, middle-aged white woman, who lived in Massachusetts and New York before moving to South Carolina 27 years ago. [caption id="attachment_26773" align="aligncenter" width="452"]Marjory Wentworth Marjory Wentworth is the Poet Laureate of South Carolina. Photo by Andy Allen.[/caption] Amaker is a young African-American graphic artist and web designer with long braids, a broad smile and easy going manner. He grew up an Air Force kid, living all over the world before coming to Charleston in 2003. The two met more than 10 years ago at a poetry reading in the city. Now, Wentworth says, Amaker is one of her closest friends. “We talk several times a week. He designed my website and we often perform together.” They even collaborated on a poem, after incoming Mayor John Tecklenburg commissioned one for his inauguration last January. The result was “Re-imagining History” which tells of Charleston’s complicated history of slavery and race relations. The final stanza recalls the tragedy of the shooting. This year, we’ve done laps around despair; and we’ve grown tired of running in circles so we stepped off the track and began to walk. As the earth shifted beneath our feet, we moved forward together. Our hearts unhinged, guide us toward a city remade by love, into a future that our past could never have imagined, beginning today. Both poets were immediately contacted by local media to write poems in response to the shooting. Wentworth had just two days to compose the poem “Holy City” — the nickname for this community with over 400 churches. “I wanted the poem to feel like a prayer. I wanted it to be something that everybody could read and relate to somehow,” Wentworth said. The poem was published on a full page in the Sunday edition of the Post and Courier. Amaker wrote his poem “Black Cloth” for the weekly City Paper. He said he wanted it to be a tribute to the nine victims, but also wanted it as a wakeup call. “For me, it feels like the time for small talk is over. If we don’t change after this, then what is going to change us?” Amaker asks. In the days and weeks that followed, poets from the community and around the country began sending poems to Wentworth and Amaker. In response, the two created a website for the poetry and eventually hope to publish a book. “In a time of crisis, poetry is a great way to find the language for something that people don’t have. People crave some way of articulating what they’re feeling. And that’s what poetry does,” says Wentworth. https://youtu.be/--hCcZN6sCM Holy City by Marjory Wentworth “Only love can conquer hate.” Reverend Clementa Pinckney Let us gather and be silent together like stones glittering in sunlight so bright it hurts our eyes emptied of tears and searching the sky for answers. Let us be strangers together as we gather in circles wherever we meet to stand hand in hand and sing hymns to the heavens and pray for the fallen and speak their names: Clementa, Cynthia, Tywanza, Ethel, Sharonda, Daniel, Myra, Susie and Depayne. They are not alone. As bells in the spires call across the wounded Charleston sky, we close our eyes and listen to the same stillness ringing in our hearts, holding onto one another like brothers, like sisters because we know wherever there is love, there is God.
https://youtu.be/QnfrzvWsJD4
Black Cloth By Marcus Amaker Racism, let us no longer walk in your shoes. you are a traveler of darkness, a walker of shadows, cloaking yourself in a black cloth like the grim reaper and arming your soul with the tools of a terrorist- a misguided soldier who’s trying to start a war. My sisters, heaven was as close as your breath that night. You came to Mother Emanuel to worship in the glow of God, and speak the light that flows from love. How beautiful of Him to hear your words and lift you into the arms of Christ My brothers, you walked toward heaven with focus, even when your shoes were stained with the dirt of intolerance. A black cloth lays silent at Clementa’s seat, resting under a single rose. It was taken from our city’s soil, where seeds of faith continue to grow. Charleston, I see heaven in your tears and feel the weight of sadness in your voice. I’ve seen strangers hold hands as the sun wraps us in unbearable heat, I’ve watched children of contradiction come together for the unity of the Holy City. South Carolina, nine members of your family are now in heaven and you have to confront the reality of racism, the dusk of pain, the lightlessness of the dawn. Because I would rather hang a black cloth on a flag pole than give the Confederate flag another glimpse of the sun. About Marjory Wentworth Marjory Wentworth is the poet laureate of South Carolina. She has taught creative writing at the Art Institute of Charleston and at Charleston County schools for nearly 25 years. Her work has been published in numerous magazines and anthologies and her books of poetry include “Noticing Eden” and “The Endless Repetition of an Ordinary Miracle.” This month she is releasing a non-fiction book called “We are Charleston.”  In it, Wentworth and co-authors Herb Frazier and Bernard Edward Powers, examine the reaction of the city following the shooting at the Emanuel AME church one year ago. About Marcus Amaker Marcus Amaker is an award-winning web designer, graphic designer, videographer, musician and author. Amaker began his career as a journalist, working for the Post and Courier newspaper.  He has released seven books of poetry. His most recent is “Mantra: an Interactive Poetry Book.”  His poems have also been featured in “Home is Where: An Anthology of African American Poetry from the Carolinas,” “Seeking: Poetry and Prose Inspired by the Art of Jonathan Green,” and “My South: A people, A Place, A World of its Own."  As a spoken word poet, he’s performed for the MOJA, Piccolo Spoleto, Spoleto and North Charleston Arts festivals.

‘Requiem for Mother Emanuel’: Artist hopes his tribute to Emanuel 9 reflects hope in midst of loss

From the Orangeburg Times and Democrat Article by Dionne Gleaton, photo by Larry Hardy
In keeping with his roots in a holiness church, artist Leo Twiggs has a testimony he wants to share with the world. It speaks of the range of emotions he felt following the horrific mass shooting at the Emanuel African Methodist Episcopal Church in Charleston nearly a year ago.
Twiggs lets his art do the talking for him, though, through his use of batik, an ancient technique of manual wax-resistant dyeing applied to whole cloth. He spent many long nights over the course of several weeks manually dyeing and dipping fabric pieces to achieve a texturally rich and deep-toned series titled “Requiem for Mother Emanuel.”
Nine people, including Senior Pastor and state Sen. Clementa C. Pinckney, were killed by a gunman during a Bible study session at Emanuel AME Church on June 17, 2015.
The tragedy gained worldwide attention and emotionally moved Twiggs, who said his images for “Requiem for Mother Emanuel” did not actually begin as a series.
“The whole idea behind the Mother Emanuel series did not come as a series. I did not think of it as a series. I was doing one painting and that painting was in reaction right after the event happened,” the artist said.
His body of work will be exhibited at The City Gallery in Charleston from Tuesday, June 21 to Sunday, July 31. The City of Charleston is dedicating the entire first floor of the gallery for the display of Twiggs’ work. The paintings will be accompanied by a seven-minute video in which he talks about the nine images and his inspiration behind each.
The “Requiem for Mother Emanuel” exhibition is part of a nine-day remembrance the City of Charleston is hosting to commemorate the one-year anniversary of the church shooting.
“During that period, the exhibit will be open to the members of the church and survivors of the victims for private viewing,” Twiggs said.

‘This is about nine people that perished’

A target and the number nine are symbols that appear in the series, along with the Confederate flag, a symbol that Twiggs has used in his paintings since the 1970s.
“I go all the way back with both the target and the Confederate flag as part of the images in my work. I did a whole series on ‘Targeted Man,’ and I did a series using the Confederate flag,” he said.
The artist said he felt the Emanuel AME Church, often referred to as Mother Emanuel, was the target for such horrible violence because of its rich history. Founded in 1816, Emanuel AME is the oldest African Methodist Episcopal church in the Southern United States and is the first independent black denomination in the United States.
“Denmark Vesey was a pastor of the church at one time. Charleston probably has more churches than any other single place in South Carolina, but he picked that church because of what it meant to black people,” Twiggs said. “So my first image was this target and this silhouette of the church.”
He said he chose not to reproduce an actual picture of the Emanuel AME Church in the first image of the series, whose pieces were all done in batik on cotton.
“One of the things I didn’t want to do as an artist is to just put a picture of the church because when you paint and put just a picture of the church, you tie everything to a single church, when it’s really about churches. So what I did was create a kind of symbol of a church, a kind of imagery that could be any church. That piece was done in 2015 right after the horrible incident,” he said.
The second image was actually started in 2015 and finished this year.
“I used the flag and the number nine because that’s what it was all about. And it was at night, so I tried to suggest a kind of dark sky, said Twiggs, whose third piece also contained a blood-stained Confederate flag with nine X’s at the bottom of it.
Twiggs said the flag became more like a stain on the starkly white church in his fourth painting.
“I just saw what happened at Emanuel as a stain on this white church. Here is this blood stain on this white church that was really a metaphor for a white garment that somebody’s wearing and gets a terrible stain on. So the flag is there, but it becomes like a blood stain,” he said, noting that the nine multi-colored X‘s at the bottom of the flag represented the nine shooting victims.
“An X means somebody has passed, or that somebody is no longer with us. I don’t know why I used the different colors. I suspect it’s because I wanted to match up with the colors on the flag, but I think it also kind of represents that these were different people,” Twiggs said. “Some were young, some were old.”
He said each of his paintings is a testimony to the nine slain church members.
“They are single paintings that live on their own right. It’s like a testimony,” Twiggs said.
The Confederate flag become a recurring symbol in Twiggs’ “Requiem” series, and it is splashed across the surface of the church. It eventually morphs into a cross on a blood-stained background and then changes into a cross with the red drained from it.
Twiggs said there is somewhat of a transition made in the fifth painting, when the Confederate flag becomes “smaller and less prominent.”
“In this one, the blood of the flag has completely disappeared. … This is the flag, but there are nine stars and the flag is now morphing into a cross,” he said. “This is patterned fabric. This is the only one where I’ve used patterned fabric on it.”
Twiggs said he took a tour of the inside of the church, images of which are included in his sixth piece.
“I had not been inside the church in years. My art teacher at Claflin, Arthur Rose, was a member of that church. So I had been to that church early on, but it had been a long time. I just felt if I was going to do a Mother Emanuel series, I had to see where they died,” he said.
He was particularly moved by a massive stained glass window that was located near the church’s altar. He included its likeness in his sixth image, along with the Confederate flag’s continued morph into the image of a white cross.
“I wanted to get the feeling of what was inside the church. What’s amazing is one side of the church is starkly white, but inside it’s warm and has got all of that old wood. It looks historic,” said the artist, whose sixth image also includes the Palmetto Tree and crescent moon, symbols from the state flag.
Twiggs includes all three symbols of the Confederate flag, the target and the number nine in his seventh image, along with crosses representing the souls of the victims.
“I look at it and think of it as a summary because I used the flag, but the bloodiness is now gone. I used the target as I did on the first one, and then the number nine, which I also used in the second one. So kind of all the things that are incorporated in those paintings are in this particular piece,” he said. “And, of course, you have the crosses of the souls of these people rising and the moon.”
He intended for the title of the series to reflect hope in the midst of great loss, the artist said.
“The reason this is called ‘Requiem’ is because this isn’t about the living. This is about the nine people that perished in this horrible, horrific incident. Nobody knows what happens to you when you die but in the Christian religion, you are transformed from a physical being to a spiritual being,” he said.
“And I try to represent that spiritual being with the cross because the way Christians get to their final destination is the way Christ went to his destination — through the cross. So these people obviously were Christians, and for them that is the journey I try to portray them taking — that rising up from their church to another place,” Twiggs said.
That image is vividly shown in his eighth painting, where a white line of demarcation separates the church from the heavenly place that Christians seek to reach in the afterlife. A darker blue suggests the horror the victims endured on earth, but a lighter blue emanates from above.
“That’s where the sky is bluer, and in there I have a lot of crosses because we call our funerals ‘home going ceremonies.’ We’re going to meet our relatives who went on before us; they’re all up there waiting for us. So when I’m doing this, I’m very steeped in African-American culture and traditions,” Twiggs said.
Deciding how to end the series with his final painting was something the artist struggled with. He thought about how the church was located less than a mile and a half from where Africans were brought to America as slaves and less than a mile from where the Civil War began.
“Mother Emanuel is less than a mile from where Africans were brought ashore and sold on Market Street in Charleston. Mother Emanuel was in a very unique place and is a very unique place. It’s the place where Denmark Vesey tried for freedom and was killed.
“I thought about the history of Mother Emanuel and I also thought that (what happened at) Mother Emanuel is not unique to us. It happened in Birmingham with four little girls. It happened in North Charleston when the guy was shot in the back. … This is the stony road we trod,” Twiggs said, referring to the lyrics of James Weldon Johnson’s “Lift Every Voice and Sing,” the National Black Anthem.
It was another line from that song, however, that kept coming back to him and was included in his ninth piece: “We have come over a way that with tears has been watered. We have come treading our path through the blood of the slaughtered.”
“Those two lines explain Mother Emanuel perfectly,” Twiggs said. “If the victims could speak, what would they say? They have said, ‘We have come treading a path through the blood of the slaughtered,’ and this is what has happened to many of us.”
“So what I wanted in this last one is to kind of sum up and give people the perspective of what Mother Emanuel really means to us as African-Americans. It’s a place that speaks about our journey, the pain of a journey that is repeated over and over when you look at our history,” he said.
In the final image, a number nine sits above the lines from Weldon’s song.
‘Our state’s finest hour’
Twiggs said the seven-minute video that accompanies his series was developed with a $10,000 donation from a group of art patrons in Greenville who have purchased his work over the years. The video was produced by Greenville-based Sailwind Pictures.
Twiggs said the director of Greenville’s Hampton III Gallery gave the donors an opportunity to preview his works and see the video during a special reception. The gallery is the state’s longest operating art gallery in which Twiggs has been a member since 1972.
“It was really a great afternoon. Once you see the video and these works, it gives a whole new perspective of what I was doing,” he said.
The Johnson Collection of Spartanburg acquired the last three of the nine paintings, Twiggs said.
“One of the most significant (art) collections in South Carolina decided to buy all three paintings and to donate them to two national museums and to keep one that so that it could be loaned to museums in our state,” he said. “That, to me, was nice.”
Another donor funded the printing of 5,000 brochures containing images of the paintings and an essay, all of which will be available at Twiggs’ exhibit at The City Gallery in Charleston.
“If you take the brochure, the exhibit could live forever. I’m so proud of that,” the artist said, noting that an artist’s reception is scheduled from 5 to 7 p.m. Friday, July 8 at The City Gallery following the nine-day anniversary commemoration of the church shooting.
“We’re not doing anything formal when they’re having the anniversary because that’s a quiet time. When they’re having the anniversary, the only thing is that the families of the victims will know that the works are in the gallery,” Twiggs said.
South Carolina ETV also filmed a documentary about the creation of Twiggs’ paintings on June 2. Beryl Dakers, who retired from ETV but continues to work on special projects, is a long-time friend of Twiggs, and she filmed the documentary.
“I know Beryl is also supposed to be going to Charleston to do something with Mother Emanuel. I think she’s going to do some interviews and everything else and then feature the documentary with that. So she’s putting together this documentary,” Twiggs said, noting that the documentary will likely air following the nine-day remembrance,
Bradley Glenn, an award-winning documentary producer from California, is also working on a 60- to 80-minute documentary about Twiggs’ work called “Leo Twiggs: Crossing Over.”
“He plans to bring a crew to Charleston to cover the Emanuel event. So I’ll probably be going down there for that. His documentary is not just about Mother Emanuel,” but he wants it to be a part of it, Twiggs said.
“He (Glenn) said, “I want to get you with some of the survivors.’ I said, ‘I’ve got to wait and see whether they want to do that.’ So he’s going to be in and out of town. It’s going to be interesting to see what he does,” the artist said.
Twiggs said what he hopes to do is contribute to the healing of the community in the aftermath of the church shooting with his works of art.
“When an event happens, there are people who want to write about it, there are people who want to talk about it and there are people who want to paint about it. I said in the video that after Mother Emanuel, it was our state’s finest hour because for the first time that I can remember, we came together as one,” he said.
“It was not about the color of our skin or status, but as one human being in relation to another human being. And, if anything, I hope that the paintings record that moment so that when people look at the paintings, they could say that a tragic thing happened at a church, but what happened as a result of that thing was something that had not happened in our state before.”
Entry to Twiggs’ “Requiem for Mother Emanuel” exhibit is free to the public. The City Gallery is located at 34 Prioleau St. in Charleston. The gallery is open from 10 a.m. to 6 p.m. Tuesday through Friday and from noon to 5 p.m. on Saturday. The gallery is closed on Monday. For more information, call the gallery at 843-958-6484.

Emanuel AME Church massacre inspires haunting new series by Dr. Leo Twiggs

From ArtReport.com Article by Alison Sher

[caption id="attachment_25902" align="alignright" width="200"]Leo Twiggs Leo Twiggs; photo by Jerry Siegel[/caption] Dr. Leo Twiggs was one of the first African Americans to earn success as a visual artist in the newly integrated academic landscape of the 1960s. Twiggs paints in batik, a craft that’s so old it’s been found in the tombs of Egypt. He’s the first person to experiment with the method as a painting medium. Twiggs uses wax, dyes, and muslin cotton fabric to reimagine the often oppressive scenes and symbols that he sees living in the South. His latest series, a nine piece collection, Requiem for Mother Emanuel, is a reflection on the June 2015 shooting at Mother Emanuel Church in Charleston, SC where nine African Americans were murdered during a bible study. Art Report: What has it been like working as an African American artist since the civil rights movement? Dr. Leo Twiggs: In the beginning, African American art wasn’t in museums. Then there were shows specifically for African American artists. If you were featured, critics wouldn’t talk about your art. The African American artists, however, were great artists who eventually became accepted into the mainstream. Major museums are now beginning to collect the work of African American artists. They  realize that African American art is still American art, and you can’t tell the story of America without including African American artists. AR: What inspires the themes of your different collections? LT: I think an artist paints out of his own encounters with the world. I deal with specifics and that’s what makes my work universal. I paint about the struggle of being second class and put in a corner. When I paint a confederate flag, people don’t know if it’s by a black or white person. People fly that flag like the war is still going on. I wanted to portray it as an old tattered object that I pulled out of a trunk after 150 years. I also did a series called Targeted Man. I grew up with the KKK in my neighborhood. Being targeted is an experience all African Americans can relate to. When 9/11 happened, everyone in America felt targeted. AR: How did the Mother Emanuel massacre effect you? [caption id="attachment_25904" align="alignright" width="200"]Leo Twiggs, Requiem for Mother Emanuel #2 Leo Twiggs, Requiem for Mother Emanuel #2[/caption] LT: I grew up 45 minutes outside of Charleston. My first art professor was a member of that church. Before doing this series, the last time I went there was for his funeral. I’m doing this series because I have to do it. Something inside me is driving it. I’ve finished four of the nine pieces. They’ve all already sold. The shooting impacted me because the people were killed in a Bible study, and I know how people are in Bible study because I go each week. You become friends with the people there. I could empathize with what happened with them. What was amazing was the forgiveness and the redemption of the highest level that was expressed after the shooting. How do I capture the brutality of the event and the forgiveness that followed in nine paintings?  You see the brutality in Requiem for Mother Emmanuel #3 (pictured above). Dylan Roof targeted the oldest church because it’s the oldest African Methodist Episcopal church in the South, and he wanted to make an impact. After that shooting, for a few hours, we came together–not as black and white–as human beings. There was a kind of empathy and unity that came about from that tragedy that we have not seen in this state since the Civil War. But how long does it last? I suspect that it’s fading as we speak. Now that the tragedy is over, the status quo is hardening and legislators are making it even harder to get rid of the Confederate Flag. People sink back into their old ideologies. That’s why the series is so important for me. I want to capture this moment that people felt redemption from something as horrific as all that, one shining moment that people can treasure that’s dissipating as we speak. AR: What is the significance of the Confederate Flag in the South to African Americans? LT: The South is a place of contradictions. You’ve got to read between the lines. You have the hospitality and syrupy sweetness, and you have the racial tensions and the oppressive environment used to keep people in their places. Those are the kinds of contradictions I explore in my work. I believe that in the South there is a separateness that still exists. People move around each other during the day, but like Martin Luther King Jr. said, on Sunday, the South is the most segregated place in the world. What people don’t see is that there are niceties, but the camaraderie is surface level. There is a facade that’s here. The Confederate Flag is a facsimile. We’re nice to each other, but in the background there is always a shadow that is the flag and what it represents. Charleston is the place that the Civil War began. That’s one reason why Mother Emmanuel made a powerful statement. In one shining moment, people began to feel the pain of others and the flag came down. Twiggs does not yet know where the The Requiem for Mother Emmanuel series will be shown when it’s complete. However, like much of Twiggs’ work, the images are already predicted to become iconic portrayals that honor the transcendence of African Americans in response to one of the most significant hate crimes in recent history.

Artist to paint library mural in memory of Cynthia Graham Hurd

[caption id="attachment_25414" align="alignright" width="300"]Dart Manager Kim Odom stands next to blank wall that will be transformed by mural Dart Manager Kim Odom stands next to blank
wall that will be transformed by mural[/caption] A world-renowned artist is painting a colorful, wall-sized mural of books on the side of the John L. Dart Branch Library to honor Cynthia Graham Hurd, a 31-year employee of Charleston County Public Library and one of nine victims shot last year at Emanuel AME Church. Artist and author R. ROBOTS will paint the bright geometric mural on the south side of the branch at 1067 King Street from 10 a.m.-6 p.m. from Tuesday, February 23 through Friday, February 26 (weather dependent). Residents in the area are encouraged to visit and watch him work, and kids can participate in a workshop with the artist from 3:30-5 p.m. on Thursday, February 25, to create their own mural-inspired artwork to be attached to book carts in the building. Hurd was branch manager at the Dart Branch for 21 years before serving as branch manager of the St. Andrews Regional Library. The mural is being partially funded by a donation from Winston & Strawn LLP to the Cynthia Graham Hurd Memorial Fund, which was established at Charleston County Public Library by the Graham-Hurd families to promote outreach and educational programming at the two libraries she managed during her career. The project is a collaboration between CCPL and Enough Pie, a nonprofit organization dedicated to engaging and inspiring residents in Charleston’s Upper Peninsula. The organization identified the talented muralist and street artist to be part of the project. CCPL Acting Executive Director Cynthia Bledsoe praised Enough Pie plus the many other donors and organizations committed to seeing that Hurd’s legacy continues. “Cynthia grew up and lived just blocks from the Dart Library, and she helped thousands of people during her years there. This bright, bold mural will be a daily reminder of Cynthia and all the lives she touched,” she said. Enough Pie Executive Director Cathryn Zommer said the Dart Library is a great community resource, and the organization is pleased to be able to help honor Hurd’s memory. “We believe this mural will bring more folks to the branch and honor Cynthia by illuminating the magic of books and storytelling on a main wall of the building.” About the artist: Nick Kuszyk, aka R. Robots, is known for his large public art projects throughout the world, including sites in Berlin, Prague, London, Tel Aviv and throughout the United States. His work also hangs in galleries, and Penguin Books published his children’s book, R Robot Saves Lunch, in 2003. Kuszyk graduated from Virginia Commonwealth University in Painting and Sculpture and was awarded a Virginia Museum Fellowship. He currently lives in New York. Via: Charleston County Public Library