Stranger in the Street
Some photographs in front of the apartment.
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Some photographs in front of the apartment.
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Some photographs in the backyard.
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Photographs from the studio.
One of my favorite pieces in the Brooklyn Museum is the Likishi Dance Costume. I make time to see her whenever I visit.
Museum Text:
Likishi Dance Costume and Accessories (Mwana Pwevo)
Unidentified Luvale artist, late 19th or early 2oth century Northwest province, Zambia Fiber, wood, hide, metal, seedpods, bark, rope, hair, organic materialsThis complete dance costume shows how masks are normally one part of a larger ensemble. The mask is sewn directly onto the costume of looped bark and fiber, which fits tightly over the body of the dancer. Seedpod rattles and metal bells added a musical aspect to the performance.
Although they are danced by Luvale men, mwana pwevo masks depict women. In order to own and perform with a mask, a man had to symbolically marry it by paying the carver a copper ring as a bride price. In doing so, the dancer made a commitment to honor and care for the spirit represented in the mask. In return, the dancer was able to earn his livelihood performing at local festivals.
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… “To love at all is to be vulnerable. Love anything, and your heart will certainly be wrung and possibly broken. If you want to make sure of keeping it intact, you must give your heart to no one, not even to an animal. Wrap it carefully round with hobbies and little luxuries; avoid all entanglements; lock it up safe in the casket or coffin of your selfishness. But in that casket- safe, dark, motionless, airless–it will change. It will not be broken; it will become unbreakable, impenetrable, irredeemable.” – C.S. Lewis |
NEW PROJECT
Oresteia at Columbia University School of the Theater Arts (April 20-23)
I’ve designed the head of the resurrected Agamemnon. He returns with the visage of a goat.
rehearsal photo, March 2011
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Oresteia
After Aeschylus
Written and Directed by Jonathan Vandenberg
poster design by Jonathan Vandenberg
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