We are pleased that this issue features activities that FIA members and others have engaged in: two detailing happenings connected with FIA activities in Minneapolis; and articles describing activities in New Jersey, Iowa, and Canterbury, England. More specifically, this issue contains:

President's Message

By Nancy Pendegraph

Hello Everyone,

During the 2007 ACB convention in Minneapolis, we were pleased to have a suite as in some years past, where we truly did have some lovely socializing time. We had both a fantastic writers workshop and a spectacular program in the visual arts -- some of which you may have read about in Amy Monthei's article in the September Braille Forum. For me, a highlight of the annual Showcase was that a vocal ensemble ("Eight dot Mode," who performed my arrangement, "Sing that Swing." (Editor's Note: The arrangement was wonderful, and fun to perform.) The Showcase also featured an act in a new performance area: belly dancing. Paulette Bartelt was the belly dancer, with Amy Monthei providing the audio description. See "MINNEAPOLIS MENU" for a summary of other convention highlights.

Several exciting developments have taken place since the convention. Paulette, the belly dancer, is chairing a committee that is making good progress towards creating our own web site. We will have the membership form available there to make it easier for people to join.

Our most heartfelt congratulations to Lisa Boettcher and Peter Altschul who were married on September 8 in their back yard. We wish the newly-wed couple every happiness!

We celebrate with Frank Senior who has just released his first CD called "Let Me Be Frank, which is available at CDBABY.COM. I happen to know that Gord and Janiece Kent are each working diligently on completing CDs, so we'll want to be on the look-out for those. We encourage you to let us know about your CD, solo performances, art showings, etc.

And we hope you'll contact us about what you like, what you don't like, and how you may want to participate in Friends In Art. Be sure to read the minutes of the business meeting in this issue for election and committee information.

Here's hoping for a larger band of Friends in Art!

Minneapolis Menu

By Janiece Kent

The ACB and the FIA conventions were a succession of activities that would overflow the largest plate any number of times, but we're going to drop this metaphor like a hot potato. MENU just seemed like a more appetizing word than list or schedule.

The FIA program began with the Board meeting, held at its customary time on Saturday evening, and primarily focused on reviewing details before the week got into high gear. Our mixer on Sunday was the usual lively combination of seeing old friends and meeting new ones. Twenty-two performers registered for slots and Monday's rehearsal audition, and a number of attendees also signed up as new members. The FIA chorus always follows on the heels of the mixer to be sandwiched in before the opening general session. Singers warmed readily to the round - our first for Showcase Chorus - and "Everybody Rejoice," from "The Wizz" arranged by Gordon Kent.

Monday afternoon brought the Band-in-a-Box workshop for beginners in arranging, followed immediately by the Showcase rehearsal/audition. Because everyone presented polished, well-prepared material that showed them at their best, all acts were given a place on the Showcase. Because some selections were quite short, we knew we could have a show where listeners would be eager to stay until the end.

Monday evening is first given over to the committee's setting the show and rewarding itself with pizza. Then there is time for the Prose/Poetry reading and the final choral rehearsal. There's always a magic transformation that occurs between the first and second rehearsals. It happened again, and we knew we'd have a great ensemble presentation in the show.

Tuesday's bargain boxed lunch and business meeting were very well attended. See minutes elsewhere in this issue for information on elections and committees.

Our Art Parlor deserves its own paragraph. It opened on Sunday after Elsie Monthei, husband Arlo, and family set up the artists' work. During the next three days, convention attendees examined the art works with the benefit of helpful information from Elsie or other hosts. Visitors voted for their three favorite pieces, with prizes awarded to the top three entries. On Tuesday afternoon, two additional activities took place in the parlor. After Amy Monthei set forth a number of practical tips on "Marketing Your Art," our scholarship winner, Kurt Weston, talked about his techniques as a legally blind photographer.

The Showcase of the Performing Arts on Tuesday evening seemed to fly by. How could it not with performances on Native American flute, piano preludes by Chopin, varied rock presentations, a parody on the vagaries of identifying paper money, and the Broken Baggie Blues! An accomplished soprano from Minneapolis presented her own captivating setting of the Lord's Prayer. In its debut performance, the vocal octet, "Eight Dot Mode" closed the show singing an original arrangement of two jazz tunes fused into a sophisticated medley.

Wednesday contained three program items. The first, an advanced MIDI workshop, had to be cancelled because of an irreparable computer breakdown, which even the local Geek Squad repair shop could not surmount. The writers' workshop, given by Robert Anderson, was a great success. Mr. Anderson (Bob) from Minnesota interrupted a week of camping to give a workshop on writing essays. He used one of his own - available in print and Braille - to illustrate a number of principles, which he encouraged participants to practice. He was excited about teaching a lively group with many ideas and questions. Finally, the Round and Harmony Sing had light attendance but a group hungry for new rounds as well as tried and true favorites.

Thursday's program consisted of two activities. The gallery experience at Art Holdings inspired an article in this log (see next article) and also one by Amy Monthei in The Braille forum. If there was ever a hard act to follow, it will be the challenge of equaling this in-depth hands-on feast of art in another venu! Thursday's second activity was a focus group session led by John Hanson, Head, Music Section, National library Services for the Blind and Physically Handicapped, Library of Congress. Although not a part of FIA's program, we did assist a bit in finding the appropriate niche in the web of many schedules. At least 30 participants asked questions, shared information and resources, and made suggestions for John's and Judy Dixon's attentive ears. (Judy is Consumer Relations Officer at NLS.) The lively exchange only subsided when time ran out. The attendance of so many members and nonmembers of FIA was a welcome surprise to all, leaving open the possibility of other such sessions in the future.

Many events in Friends in Art's yearly program appear to be similar from year to year. The difference comes from new presenters, new materials in the market place, new performers, and new ideas. Musicians find new instruments, new partners, or even step up and read a poem. You may wish to put your favorite recipe for arts enjoyment into this rich buffet.

Please Touch The Art

By Lynn Hedl

The FIA-sponsored museum tour, usually scheduled for Thursday afternoon, is one of the high points of convention week. Often hosted by educational staff, museum visits in past years have been enjoyable and informative, and those who have conducted the tours have been gracious and eager to provide us with a good experience at their facility. This year, we were invited to "please touch the art" at Art Holdings, a Minneapolis-based company which acquires and customizes artworks for corporate clients. The works we explored were not protected museum pieces displayed behind glass cases.

FIA member Amy Monthei, a visually impaired artist and employee at Art Holdings, arranged the tour. Her sister, Paulette Bartelt, helped to present an in-service session to gallery docents to train them to work with visually impaired visitors.

Despite the fact that we were over an hour late due to a transportation glitch, we were warmly welcomed. Staff members ushered us into a large room where the works of art were arranged at various stations to optimize exploration in small groups. We moved around the tables at our own pace, with ample opportunity to examine the art works in detail. Docents also directed us to several pieces mounted on the walls. It is noteworthy that we were asked only once to wear gloves, necessitated by the delicacy of an ancient hand-embroidered Japanese wedding kimono. In a traditional gallery, such a piece would be protected behind glass.

Minnesota artists created all of these intriguing works. Amy Monthei's contribution, "Rivulet," is a three-paneled tactile wall painting, demonstrates her success as a recognized visually impaired artist.

We reveled in feasting our eyes and fingers on stone bird sculptures, glass torsos, hand-blown vases, Raku vessels, bronze urns, and abstract copper and bronze figures. Fiber arts were represented by works of multicolored yarn, as well as woven and quilted textiles. Textured bent metal and enamel hangings, abstract figures in steel and copper, and a modern aluminum sculpture showcased breadth of media and variety of style. One of the most complex and tactually interesting works was a six-foot tall wood and glass mosaic entitled "Totem with Tree and River of Life." I was particularly fascinated by intricately carved wooden leaves and a stone relief of a landscape.

In this atmosphere of free-flowing exploration, there was no anxiety from the staff concerning damage to the works of art from our touching them. Through their encouragement to freely touch objects, their enthusiasm and eagerness to interact with us, and an attitude of complete trust, the staff of Art Holdings provided a rarely achieved level of accessibility. For this unforgettable experience we give them our highest commendation.

Bridging The Gap Through Braille Music

By Mike Hoenig

People who are blind face many barriers to being fully included in the sighted world. Unemployment, inadequate transportation, and low expectations immediately come to mind. No barrier is larger, I believe, than the lack of opportunity to participate in activities which sighted people take for granted.

Playing a musical instrument is one such opportunity. Stop and think for a moment about the many ways that this ability gives a blind person a "ticket" into the sighted world. It allows the person to share a common experience with his/her peers. An individual may choose to participate in theater, present recitals, or join a band. However, unless a blind person is gifted with perfect pitch and a photographic memory, s/he will have to learn Braille music in order to get that ticket stamped.

My venture into the world of playing music began in third grade, when I met my blind piano teacher, Phyllis Nesbit. Having just learned to read and write Braille, I was initially confused when I learned that the literary "d" corresponded to the musical eighth-note c, and a double-bar was represented by the literary "ghk." Soon, however, I discovered that Braille music notation is very intuitive, and I was on my way!

Performing in recitals during elementary and junior high school gave me the confidence to begin entertaining at a local nursing home. Through this experience, I discovered that I had a real aptitude for working with seniors. The nursing home administrator recognized this ability, employing me as a social services assistant for three successive summers. While providing a source of income, this job taught me valuable skills and helped me to assimilate into the sighted world. Without Braille music, I would likely not have gained this important work experience.

Braille music wasn't finished giving back just yet. After spending my entire educational career in a residential school for the blind, I found my freshman year at Central College in Pella, Iowa to be overwhelming. The one familiar comfort was my music. With the hope of being selected for the concert band, I took instrumental lessons in the fall. As the trimester ended and auditions approached, the band director's initial misgivings were replaced with a positive "we can make this work" attitude. My audition went well, and on the Monday following Thanksgiving break, I took my place as third chair in the baritone section.

Being a member of Central's concert band brought me out of my shell and helped me to become an active member of the college community. Daily rehearsals, frequent concerts, and annual spring tours allowed me to share common experiences with fellow band members and, most importantly, to make friends. Our trip to Canada in the spring of my sophomore year represented a turning point of my college career. The long bus rides were filled with endless card games and lengthy, meaningful conversations. Home stays gave me the perfect opportunity to educate host families and my friend James about my ability to be self-sufficient. I returned to Pella feeling very much at home as a Central student and a confident member of the concert band. That confidence propelled me to my first solo the following year.

Spring tour of my junior year reaped yet another benefit. Our pre-tour rehearsal lasted well into the evening. Afterward, friends invited me to a party. Something clicked, and before I knew it, I was being invited to join a fraternity. My pledge father and I developed a strong friendship. We shared an apartment while attending graduate school, and maintain contact to this day.

Some humorous benefits came along with my band membership. Our director, Paula Holcomb, helped me to realize a lifelong dream when she invited me to join the marching band. It was not, however, in the capacity which I had expected. She assigned me to the flag line, where I marched between two girls. At the marching band awards dinner, I was "honored" with a pair of hose. I took lots of good-natured ribbing for months! On band tour to Florida, a friend helped me sneak past security to ride Space Mountain, a roller coaster which was off-limits to blind persons. When my name was called at our commencement ceremony, a friend in the trombone section produced a squawk which meant much more to me than the applause I received for having graduated.

As you can see, my ability to read Braille music opened up many doors and helped me to become a well-rounded person. I am saddened to learn that educators are discouraging instruction in Braille music notation, asserting that it is "too difficult" for blind children to learn. That assertion is simply not true! In this age of mainstreaming, educators must take advantage of every opportunity possible to help blind children achieve true integration. Braille music proficiency affords one such important opportunity.

Breaking New Ground

By Sandra Sermons

I believe that most of us people who are blind try not to let our blindness define us; after all, we are people first. However, I can't help but think that some of societies' views of what we can and cannot do filter in despite our best efforts. How many times were we told, either subtly or not so subtly, that what we wanted to be could not be done because we did not have enough vision? Fortunately, however, things are starting to change. Take being an artist, for example.

On Aug. 10-11, 2007, I had the pleasure of attending something that I never dreamt possible: the second annual Greater Newark Black, Disabled Arts Festival. This festival was sponsored by the National Minorities with Disabilities Coalition (NMDC), whose purpose is to promote the empowerment of minorities with disabilities. It was heartwarming to know that artists from diverse backgrounds with disabilities could have a venu in which to perform. I also found it noteworthy that participating artists alluded repeatedly to the interaction of their art, their minority heritage, and their disability. Many of them are active in advocacy, support groups, and advisory boards, and all of them are serious about spreading the word that disability can inform one's art and that people must persevere in fighting negative or condescending attitudes of non-disabled counselors and critics.

The event began on Friday with a fabulous reception held at the Paul Robeson Gallery of Rutgers University. Several prominent members of the community were present, along with a large press contingent. The reception featured a gallery with a variety of pictures and paintings which were for sale. You could go around and look at all of the artwork. Braille and large print descriptions of the artwork were provided. I purchased a picture of several black dolls taken by a photographer who was blind. It was wonderful to talk to the artists who attended the reception about some of the techniques they use to practice their crafts. The reception concluded with a keynote address by a member of the City Council.

The variety of performances and workshops on Saturday made me wish to be in two places at once. Poets gave readings from their own works. The Media Room featured a short film written, acted in, and produced by a west coast arts graduate. In another venue, the play, "Four One-legged Men," was presented in several performances. There were at least three pianists/vocalists, two of whom were visually-impaired, performing their own compositions as well as those written by others. Additionally, participants were encouraged to explore new crafts or new techniques for painting. A model who has regained her speech and mobility after a severe brain tumor conducted a movement workshop.

The highlight for me came toward the end of the day when I participated in a spectacular African drumming workshop lead by Brother Jerome Hunter, an instructor at the LaRocqe Bey School of Dance. Though Mr. Hunter did not have a disability, it was obvious from the beginning that he loved his craft and that he wanted to impart his knowledge to everyone in the room. He took the time to show all of the visually impaired participants how to position the drums and worked with wheelchair users to improvise ways that they could participate. These authentic drums were made from cow and goat hides with each drum costing approximately $200.00.

We began with very simple rhythms and progressed to more difficult ones. At one point, we even split into groups, with each group playing a different rhythm simultaneously. Our youngest participant was named Jazzman. She was a darling child, primarily because she wasn't afraid to say "hi" when spoken to. Nor was she afraid to play the drums along with us.

This was an experience that I will never forget. For the first time in my life, I saw people with disabilities who had thrown away the proverbial mold and were making a go of it.

My Canterbury Tale

By Carrie Hooper

(Editor's Note: Opportunities like this are more likely to arise if your repertoire is practiced and your opportunity ears are open.)

Imagine performing a concert in a cathedral with a chorus of over 150 people from all over the world.

I had such an experience in July of 2005 when I sang with the Berkshire Choral Festival in Canterbury, England. Based in Sheffield, Massachusetts, this event takes place over a period of several weeks during the summer. Each week features the rehearsal and performance of various choral works under different conductors. The festival has not only weeks in Sheffield, but also a week in Salzburg, Austria and a week in Canterbury, England.

After Dan LaBar, a local church organist with whom I have worked, told me about the Berkshire Choral Festival's week in Canterbury, we both decided to apply, and we were both accepted. Dan served as my sighted guide in Canterbury.

In Canterbury, we rehearsed two choral works: "Four Coronation Anthems" by George Friederich Handel and "Gloria" by Antonio Vivaldi. Our conductor was Edward Higginbottom, director of the New College Choir in Oxford. In addition to Mr. Higginbottom, the faculty included four section leaders: one soprano, an alto, a tenor, and a bass. The full chorus rehearsed mornings and evenings with Mr. Higginbottom. In addition, we attended sectionals led by our section leaders.

When not rehearsing, we had the option to attend workshops and talks given by the faculty. I attended a talk by Mr. Higginbottom on his work as a choral conductor; a presentation on the performance of Baroque music; a talk by the rehearsal accompanist on her work; a master class presented by one of the section leaders; and a workshop on finding your tessitura (where the best part of your voice lies). I also attended a faculty recital. One entertaining piece, performed by all four section leaders, was the weather forecast in Anglican chant. besides rehearsals and workshops, the week also included many interesting tours. Dan and I toured Canterbury Cathedral, walked a section of the White Cliffs of Dover, and visited a town called Sandwich.

Our week culminated with a concert in Canterbury Cathedral where we performed the Handel and Vivaldi pieces with guest soloists and full orchestra. What a thrill to sing in this beautiful cathedral!

After the concert, a group of us honored Mr. Higginbottom with an original skit called "The Coronation of King Edward, Don't Call Me Ted IX." This little play, which told the story of a ladies' group that has come to Canterbury for the coronation of King Edward IX, included some of Mr. Higginbottom's witty sayings and mannerisms. He appreciated our play and told us what a pleasure it was working with us.

The week in Canterbury was filled with enriching experiences. I improved as a musician and made many new friends from America, England, and even Singapore. This is a week I shall never forget.

Highlights Of Friends In Art Convention Board Meeting

By Gloria Broderick

President Pendegraph called the meeting to order at 7:15 PM. The minutes of the previous meeting and the Treasurers' report were approved.

Committee Reports:

Membership Committee:

We have 52 paid members.

Scholarship Committee:

We received 13 scholarship applications this year. One of them arrived past the deadline, so it will be considered for next year. Kurt Weston was the winner of $1500 scholarship. It will be presented to him on Tuesday July 3 with the other ACB scholarship winners.

Log Report:

Two E-mail Logs were produced this year.

Visual Arts Committee:

Sixteen art works from seven artists will be on display in the Art Parlor.

Exhibits Committee:

The 2005 and 2006 Showcase CDs were completed. We will sell one CD for $15 or two for $25.

Nominating Committee Report:

The nominating committee presented the following slate of Board Member candidates:

Linda Braithwaite

Carrie Hooper

Gordon Kent

Janiece Petersen Kent

Elsie Monthei

Old Business:

The Board approved donations to the Wayne County Library for the Blind in memory of Sue Illingworth; the Kansas Association of the Blind and Visually Impaired in memory of Bonnie Byington (Michael Byington's mother); and to the National Braille Press in memory of Doris Kent (Gordon Kent's mother).

The meeting was recessed at 8:42 PM.

The slate of Board members was approved during the Tuesday general business meeting.

The Board meeting was reconvened on Thursday July 5 at 7:36 AM, during which committees were staffed as follows:

Committee Memberships:

Membership Committee:

Elsie Monthei, Chair

Mike Mandel

Christie Killion

Amy Monthei

Scholarship Committee:

Harvey Miller, Chair

Carrie Hooper

Gillie Presley

(Kurt Weston was suggested as a possible member)

Exhibits Committee:

Lynn and Bill Heddl, Co-Chairs (They suggested that others from the general membership participate on the Committee).

Visual Arts Committee:

Elsie Monthei, Chair

Amy Monthei

(Kurt Weston was suggested as a possible member)

Publications Committee:

Peter Altschul and Janiece Kent, Co-Chairs

Amy Monthei

Lynn Heddl

Constitution and Bylaws Committee:

Michael Byington, Chair

Gloria Broderick

Janiece Kent

Advocacy Committee:

Michael Byington and Mike Mandel, Co-Chairs

Gloria Broderick

Gordon Kent

Website Committee:

Paulette Monthei-Bartelt, Chair

Amy Monthei

Lynn Heddl

Roger Petersen

Program Committee:

Linda Braithwaite, Chair

All board members and officers.

Respectfully Submitted,

Gloria Broderick, Secretary

Log Archive Coming Soon!!!!

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