by Liz Gre

​Step 1. Cool your jets. 

Actual title: How to make it through this period without burning out. 

1: Explore new ways to make sound. 
Remember when you didn’t write for deadlines and you just played with your instruments or tools? Wasn’t that great!? I find most inspiration for melodies, themes, and sounds from the natural, external environment. Being locked inside has been a detriment to my wells of inspiration until I realized the world that I had been ignoring in my home. Consider that being in your home has given you new eyes and new ears! What can you do with the sounds that you may have overlooked? Like the sound of raw honey riding a spoon on its escape from the jar or the sound of your nine-year-old’s markers hopefully not on the wall? 

2. Challenge yourself with childhood joy 
When was the last time you giggled? Or doubled over laughing? I believe that the creative’s Gift is one of JOY - that of a child. We are able to seize the purity of a moment. Remember the things that you did as a child that brought you joy.

by Ashleigh Gordon

On this day in 2018, Boston Conservatory hosted New Music Gathering: a three-day meet-mingle, listen-and-be-heard convening of friends, both old and those you didn’t know you’d make. The fourth gathering of its kind, it was a platform to share honestly, connect, be inspired, and amplify a long overdue discussion: diversity in new music (be sure to catch Helga Davis’ opening keynote on the topic here if you missed it).

From left to right: Melanie Zeck (photo by Liz Boros Kazai), Ashleigh Gordon (photo by www.RobertTorresPhotography.com, and Lucy Caplan 

It was at this gathering when I had the chance to challenge the fundamental concept of what “new music” is. With fellow provocateurs Melanie Zeck (Reference Librarian at the American Folklife Center of the Library of Conference, and former Research Fellow at the Center for Black Music Research in Chicago) and Lucy Caplan (Lecturer at Harvard University with particular interests in African American music, opera and cultural criticism), we argued that the music of Black composers is often new to our ears regardless of when it was written. It’s “new music” in the sense that it’s unheard and unknown by most audiences, long since left from main concert stages, and failed to cross people’s minds as even being a possible creation in the first place. Highlighting archival research, scholarship, and performance application, we challenged the notion of a fixed music canon, discussed the ramifications that structural racism bears on legacy and accessibility, and advocated for how we can use resources already in place to dismantle a cycle of neglect. We unpacked the ways our very words exacerbate the issue: how a composer like Florence Price could be “rediscovered” multiple times despite the fact that scholarship and performance of her work never ceased in some circles; or how others still could be “forgotten” or “lost” as though misplaced like a set of keys without regard to the intentional and calculated efforts that enabled their “disappearance.” New Music Gathering provided us with the opportunity to openly discuss such topics with a community willing and eager to listen.
 
While this is certainly a time when convening and gatherings of community in public spaces are prohibited, this is still the time to engage in dialogue around representation, accessibility, visibility, and diversity. In fact, this is arguably a perfect time to quite literally build a new and improved cultural landscape with equity at its center. With the ongoing ICE New Music Virtual Town Hall Meetings, New Music USA and American Composer Forum conversations, and the June 15-30th virtual New Music Gathering, there are ample opportunities with captive movers and shakers in the field to engage, probe, prod, challenge, and co-create such a future. When new music gathers with diversity and equity at its center, we all win.

by Anthony R. Green

​Happy Mother's Day from Castle of our Skins! In 2015, COOS received a Travel to the Collections grant from the Center for Black Music Research (CBMR) in Chicago. While the center itself has dramatically changed, the time that COOS spent doing research there will always remain invaluable. One focus that we had at that time was researching music and contributions by Black women composers. The world of classical music has historically mistreated its women, and efforts to bring justice to female composers of the past and the present are quite often met with misogynistic or otherwise awkward responses, from both men and women. Many of these responses fail to acknowledge the many challenges that women have historically faced from male-dominated societies, who often define men as the only gender that can contribute to society in a grand, important way. Among these challenges include gender role stereotypes, expectations, and also motherhood. As rewarding as motherhood is, imagine how difficult it was for female composers to balance being a creative as well as being a mother, among other responsibilities? 

by Sakari Dixon

Today's post is an interview with Kori Coleman, the founder and executive director of the Chicago organization D-Composed. Through unique and often cross-disciplinary chamber music experiences, D-Composed engages audiences with the works of Black composers and musicians in both popular and classical genres.

photo by Orel Chollette

BIBA : In your bio, you state that D-Composed was founded out of a desire to create more fine art and luxury experiences that are tailored to the Black community. Can you tell us a bit more about how D-Composed began? How did you and Danielle Taylor meet?
 
KC : Prior to D-Composed, I ran a luxury lifestyle website called The Chicagolite. It highlighted luxury events and activities throughout the Chicagoland area. I went to fashion shows, restaurant openings, art exhibit openings. I was very much like a part-time high society girl (LOL). My goal with the site was to show my audience that you don’t have to wait until you are wealthy to enjoy the finer things in life. Plus, by being very visible I wanted the Black community to know that the spaces I was entering (although very white) weren’t off limits, and we should make our presence known wherever we want to go. I had people tell me that they were inspired to even explore the North Side of the city by seeing me go to events.
 
However, as I attended more high-profile events, I noticed that not too many experiences catered to the Black experience in the way that I hoped to see it represented one day. Eventually I got tired just being an attendee, and I knew that eventually I wanted to create something that made a difference and reflected the change that I wanted to see.
 
D-Composed came about because one day I went to an event that highlighted Black composers, and it was like this light bulb went off. Throughout my entire life, the thought of Black composers never crossed my mind. I played the violin throughout much of my youth and not once was I introduced to a Black composer. It took me becoming an adult and exploring the arts scene for that world to open up to me.
 
Following the event, I started researching Black composer events and I couldn’t find any events outside of Black history month or MLK Day. Plus, finding Black ensembles was even harder. I had been planning events prior to D-Composed, so I felt like I had what it took to create the series. We just needed to find someone who could lead the music. That same night of the event, I decided that I wanted to pursue creating my own series, so I started researching Black musicians in Chicago. I came across our now Artistic Director Danielle Taylor, and I saw that she had already been researching Black composers ... and the rest is history! Danielle was instrumental in identifying our core quartet so the right people came together at the right time.
 
It was by fate that we both happened to share a similar vision to really redefine the classical music world and make our own rules and playbook along the way. 

photo by Ally Almore

BIBA : What are some of the most unexpected ways in which your background in experiential marketing has influenced the way that you curate programs for D-Composed?
 
KC : Throughout each phase of my career I’ve been able to take so many key learnings from experiential marketing. Ultimately, when working in agencies, clients come to you because they want you to create the most compelling content or activations to promote their brand. We don’t approach creativity in a typical way with our clients, so I carry that same thought process with D-Composed.
 
When I first started my career as a strategist, I learned about creative concept development. That’s when I started to challenge my creativity to think of programs as concepts with their own unique narrative and story. As a strategist, it’s important to be well versed in all aspects of culture and society at large, so I always have my eye on trends and general inspiration.
 
And now that D-Composed is growing and developing as a business, I’m able to apply my strategic learnings in much more intentional ways, like having a pointed strategic vision for the company and just overall creating with more specificity and intention.
 
I like to think of myself as the person who makes sense out of creativity. Being a strategist allows me to think through every single detail of the business, and I truly believe we aren’t creating just for creativity's sake. Every action has a purpose and message that we wish to communicate.
 
BIBA : D-Compressed, your "music yoga experience", has become one of your most popular events. Can you tell us how that collaboration came about? What do you most look forward to in the next iteration of D-Compressed?
 
KC : I love blending genres and mediums together, so I thought why not combine yoga & chamber music? What’s interesting is when D-Composed first started, I mentioned to Danielle that the next phase would be yoga & chamber music, but let’s do a more traditional concert first.
 
The reason yoga & chamber music makes sense as it relates to our vision is because both classical music and the profession of yoga have a serious diversity issue, especially as it relates to Black people. By bringing these two forces together, we’re making and creating our own space in worlds that weren’t the most receptive to us. Plus, both classical and yoga have their own set of preconceived rules with how you are supposed to behave in those spaces, and we just wanted to dismantle all of that.
 
What I love so much about D-Compressed is how much fun we have with the music. The set-list is primarily contemporary pop culture songs, and Danielle consistently kills it with each of her arrangements. With D-Compressed, you can hear artists like Beyoncé, Janelle Monae, Tyler, The Creator, Juvenile, Sisqo. And all the songs are selected to compliment the actual flow of a yoga class. It’s meant to just be a fun experience where our attendees can be themselves.  Also, twerking on the mats is a thing that happens and is encouraged. We’ve even had people stop what they are doing just because they are feeling the music, and that’s OK. We play whatever we want to play with D-Compressed. I’m just excited to see musically what’s in store. We might do some special themed set-lists in the future, but for now it’s a hodgepodge of just really dope music.
 
BIBA : Part of your vision includes reaching out to the youth through programs such as family concerts (which feature a lovely coloring book!) and your nonprofit D-Composed Gives. What is some of the most inspirational feedback that you have heard from youth attendees or their parents?

KC : There’s not a single show that happens where a parent isn’t asking for more or wondering when the next event is. I think that can be the challenge for us because D-Composed is small, but mighty; but there’s always this incredible desire for the work we’re doing. Sometimes it’s hard to keep up with the demand. Usually parents express so much gratitude that D-Composed even exists. One parent told Danielle that he was considering having his son play an instrument even though they were only pushing him towards sports! By seeing that concert, that opened that parent’s eyes to a new world of possibilities that weren’t previously considered. That type of feedback is powerful, and it further exemplifies why we do what we do.  This is why we make a point to feature all Black musicians so those kids can see themselves in anyone on that stage.  Also, there has yet to be a concert where someone hasn’t walked up to us crying. It’s an overwhelming experience for a lot of people, so we acknowledge the huge responsibility we have to create a space with so much intention and thoughtfulness behind it.

BIBA : What advice would you give to up-and-coming organizations who share a similar mission as D-Composed?
 
​KC : The biggest advice I can give is to stay true to your vision. You may get a bit of pushback, there may be some naysayers, but staying true to yourself is well worth the risk.  With D-Composed, I’m proud to say that we create exactly what we want, and I’m incredibly proud of everything that’s been put out there. We will not compromise our vision, and if that means not getting all the support, that’s OK.  Regardless of what you do, I would say stay true to your vision and make sure at the end of the day you are creating something that you are genuinely proud of.

To learn more about D-composed, please visit their website at:  https://www.dcomposed.com . You can also follow them on Instagram @dcomposedchicago, and watch past and upcoming videos of their artistry on their YouTube channel! In the future, stay tuned to find out how you can support D-composed in their journey to play at the prestigious festival, South by Southwest (SxSW)!! Due to the coronavirus pandemic, SxSW was cancelled this year. 

by Liz Gre

Hey BIBA readers! I’m so excited to be a new contributor to this blog!

It seems to me that collaboration between visual artists and sound artists is taking over the landscape in the art world as a whole. While the environment can still feel quite separate (painters here, singers there, composers somewhere in a dark corner yelling at Sibelius…no shade…) artists are incorporating "multi-sensory" in new and exciting ways. This is not a new concept. Multidisciplinary artists from Maren Hassinger to Sanford Biggers have dissipated any sense of barrier between their installation work and their performance. I’m particularly intrigued with how multiple artists come together to create collaborative multi-disciplinary work that honors the practices of all artists involved. From the beginning, Black artists of all disciplines have stretched our imaginations with exciting, feeling-forward, sometimes tough, and critical works. So for my first BIBA series, I’m focusing on connections that have been forged between visual artists and sound artists (of all leanings). First up - Alexandria Smith!

In 2019, I was commissioned by Visual Artist Alexandria Smith to collaborate on an installation at Queens Museum (NY). Alexandria has had a stellar rise in the last 3 years, with shows of her work in all corners of the United States, London, the Netherlands, and Italy. She is the recipient of numerous awards and residencies, including most recently the Queens Museum | Jerome Foundation Fellowship; MacDowell, Bemis, Yaddo and LMCC Process Space residencies; a Pollock-Krasner Grant, the Skowhegan School of Painting and Sculpture Fellowship, the Virginia A. Myers Fellowship at the University of Iowa, and the Fine Arts Work Center Fellowship from 2013 - 2015. Her recent exhibitions include a forthcoming solo exhibition at the Queens Museum; the first annual Wanda D. Ewing Commission and solo exhibit at The Union for Contemporary Art in Omaha, NE; a traveling group exhibition called “Black Pulp” at Yale University, International Print Center NY (IPCNY), USF and Wesleyan University, and a commission for the Schomburg Center for Research in Black Culture. Her work is currently included in "The Lure of the Dark: Contemporary Painters Conjure the Night" at Mass MoCA.

(photo by Sarah White/Fotos for Barcelona)

Liz is a composer and vocalist writing strange, experimental, ethnographic compositions with Black Women for Black Women. In 2017, she performed the title role in Mother King, an opera about Alberta Williams King (the mother of Dr. Martin Luther King, Jr.). She was a 2019 Inside/Outisde Fellow at The Union for Contemporary Art (Omaha, NE). Currently located in London, UK, she is working towards her MPhil/PhD in Music at City, University of London. Social Media : IG/Twitter - @lizgrelizgre

by Shannon Sea

When people think of Alice Coltrane, they often remember her as a celebrated jazz composer and musician. She, indeed, was a virtuoso on the piano and harp. She replaced McCoy Tyner as John Coltrane’s pianist, and later developed her own sound that infused improvisational jazz with harp and spirituality.  
 
People also remember Coltrane for her devotional music, which comprised ambient synth soundscapes, harp, vocals, organ, and Hindu chants. Yet, many overlook Coltrane’s avant-garde classical pieces, which incorporate strings, harp, synthesizers, and Messiaen-like extended techniques. Furthermore, little is regarded about Coltrane’s re-interpretation of Stravinsky’s Firebird and Rite of Spring. She said she was inspired to rework those pieces after Stravinsky spoke to her in a dream.

(Art/Image by Victoria Topping)
​
I would like to bring your attention to Radhe-Shyam, one of my favorite classical pieces by Coltrane. Radhe-Shyam begins with strings playing a dissonant chord. Coltrane then swiftly enters with her electro-acoustic harp, and immediately the music draws you into another realm -- into a spiritual hyper reality. A lush counter-melody ensues as the strings gradually shift from one dissonant chord to another, and Coltrane dances with her harp. Coltrane’s melody is modal, and evades a tonic center, which gives the listener an other-worldly feeling.  
 
In Radhe-Shyam, Coltrane uses silence perfectly, as she creates space for her ethereal harp solo. The strings re-enter in stark contrast, and then break out into Messiaen-like bird calls. The piece then ends without explanation or apology.    
 
Radhe-Shyam has haunted me since the first time I heard it. There was something so distinct about every part of it, especially the string orchestration. As I inquired more about Coltrane’s composition techniques, I learned that she defied the traditional balance of string ensembles in order to create her own sound. For instance, on Radhe-Shyam, the string section consisted of three violins and one viola.  

Coltrane is one of my favorite composers, and her music is authentic, spiritual, and intellectually sophisticated. I hope you will discover more of her string compositions on her albums 
Transcendence and Eternity. 

by Ashe Gordon

Happy Sunday, COOS and BIBA Fans! Today's BIBA Blog features the Haitian-born poet, educator, publisher, and social advocate, Enzo Silon Surin! He is the author of When My Body Was A Clinched Fist (Black Lawrence Press, July 2020), and the chapbooks, A Letter of Resignation: An American Libretto (2017) and Higher Ground (2006). He is a PEN (Poets, Playwrights, Editors, Essayists, Novelists) New England Celebrated New Voice in Poetry, and the recipient of a Brother Thomas Fellowship from The Boston Foundation and a 2020 Denis Diderot Grant as an Artist-in-Residence at Chateau d’Orquevaux in France. Surin’s work gives voice to experiences that take place in what he calls “broken spaces,” and his poems have been featured in numerous publications and exhibits. Explore more in his interview below!

COOS INTERRUPTS YOUR SEMI-REGULAR SCHEDULED BIBA POSTING TO INTRODUCE ...

THE BLACK COMPOSER MINIATURE CHALLENGE! #BCMC

Composers who identify as Black or part of the African Diaspora are challenged to compose pieces for COOS co-founders Ashleigh Gordon and Anthony Green! Each piece must be 30 seconds or less. Pieces can be scored for:

- solo viola
- solo piano
- viola & piano duo

Auxiliary instruments and other options may include:
- voice (simple melodies, spoken word, percussive and other sounds)
- various shakers, thunder tube, bird whistles, finger cymbals, 2 differently pitched singing bowls, a toy keyboard (only 4 notes at a time), a toy piano (25-key), common objects, Chinese toy pellet drum, a kalimba, and common objects (paper, pots and pans, sticks and stones, etc ... )
- simple electronic playback (no live electronics, please!)
- piano 4-hand is also an option
* if wanting to use auxiliary instruments or think outside of these parameters in any way, please consult with Ashleigh and Anthony at info [at] castleskins.org BEFORE starting your piece!

Timeline:
- Pieces are due May 1, 2020 by 11:59PM; early submissions are welcome and encouraged!
- Depending on receipt and demand of the submissions, COOS will begin broadcasting virtual premieres of each piece starting May 15, 2020 (or later!) on COOS social media! Please feel free to share with friends and family!
- Postings of the virtual premieres will continue for as long as necessary, but COOS will not take submissions after May 1, 2020, so get your pieces in!

How to submit:
- Please send your piece as a PDF and any necessary material for performance (parts, tracks, notation keys, etc ...) in any relevant format to anthony [at] castleskins.org 
- along with your piece submission, please send a creative headshot and a 100 word or less bio, with any social media handles/website links you would like shared. 

WE LOOK FORWARD TO PREMIERING YOUR MINIATURES! 

Happy Sunday BIBA Readers!

The world has changed! And as these changes occurred, BIBA has taken a bit of an unexpected-but-necessary hiatus. During that time, however, we have collected wonderful posts which will be published throughout the rest of the season! As expected, all of COOS’s planned physical events have been cancelled or postponed. However, our online presence has NOT been cancelled! Therefore, if you are not doing so already, please be sure to follow us on Facebook, Twitter, and Instagram (@castleskins) and subscribe to our YouTube channel to maximize your COOS content!

​This post, however, is about the Castle of our Skins call for a Creative-In-Residence. THE DEADLINE HAS MOVED TO MAY 3RD, giving interested applicants more than a month extra to work on proposals! For those interested in applying, continue reading! For those who may want to share this post with creative friends and colleagues, please share this link as widely as possible! 

                     photo by Monika Bach Schroeder

Are you a creative interested in applying to our call? If so, below are some tips to help with your application process!

1) Castle of our Skins regularly collaborates with artists and creatives of multiple genres, including but not limited to dance, spoken word, fashion design, DIY, creative writing, historical research, creative education, and – of course – music. We welcome applicants of ALL practices, as well as interdisciplinary practices!

2) Our application material list is for the judging panel to know who you are, and not necessarily for you as an applicant to specify what project you would have in mind for COOS. In sum, we are interested in knowing who you are, what your practice is, and why you want to work with COOS! However, thinking about possible collaborative projects would not be frowned upon, as collaboration questions will most likely arise during the interview process.

3) Concerning work samples, we are looking for 10 maximum, and they can be a mixture of images, audio, video, text, and whatever else is applicable. Audio and video files should not equal more than 15 minutes in total. Therefore, a possible work sample portfolio can include 3 audio files of 4 minutes each (12 minutes), a video file of 3 minutes, 3 images, 2 PDFs of press releases, and 1 PDF of a creative writing sample. Another example of a portfolio can be 2 audio files of 7 minutes each, and 3 images (professional and/or candid). Any combination of samples that helps COOS develop a well-rounded perspective of you and your practice/experience would be advantageous!

4) As COOS is highly enthusiastic about cultural curiosity, please do not be afraid to discuss any unique cultural aspects related to your practice. Examples could be personal and/or professional experience in other countries, ability to speak foreign languages, interest in artistic and culinary practices of other cultures, research into artistic practices of other cultures and how that has shaped you as an artist, and more. The sky is the limit!
​
Thanks for reading and sharing, and we look forward to reviewing your applications!

by Anthony R. Green

Social media always has some amazing Black History Month related memes and posts, and it is refreshing and sometimes entertaining to scroll and come across something enlightening or simply knee-slapping, breathtakingly hilarious! I've seen people share speeches and quotes by luminaries such as James Baldwin, Audre Lorde, Toni Morrison, Nina Simone, and others. Friends shared book recommendations by Olaudah Equiano, Katherine McKittrick, and others. There were also some incredible memes, one of which asked which "Blackity Black thing will you do this month? I will cover my sofa in plastic!" (This is SUCH a Black joke, and probably even niche in the Black world, too, but made me spit out my tea!) 

It is also relevant to ruminate about the failings of Black History Month, not for the purpose of breaking down a culture and criticizing the creators, but for the purposes of knowing how February celebrations can be improved. Many artists refer to February as "Black Employment Month", implying that organizations especially (and even sometimes desperately) call on Black artists and creatives to put something together for February, then abandon any connection/collaboration until next February. This is DEFINITELY a problem that can be improved by insisting on long-term collaborations, and holding such organizations accountable for their ignorance. Sadly enough, organizations led by people of a myriad of ethnic backgrounds fall into this deplorable trend. 

While SoundCloud isn't your typical social media platform, I was pleasantly surprised to come across an incredible poem by Sapient Soul. I believe the poem itself is called Black History Is, but it is within a track called process. The poem speaks of the poet's transition from "hating" Black History Month as a child to "thinking it is funny/ironic" today. It is a beautiful and brutal critique of a month where we as Black people can do more to convey the Black presence in WORLD history, rather than repeat the same practices that seem to dominate February celebrations everywhere. Sapient Soul evokes names: Ida B. Wells, Denmark Vesey, Shirley Chisolm, and more. She speaks of how her non-standard persona kept her questioning the February rituals, and how she retrospectively knew she should have been taught something deeper, something that reaches further back in history, establishing the pride and richness of Black culture before the trans-atlantic trade. This poem, along with the other uninhibited works on the album, is an incredible diagnosis of Black History Month, and should be heard and contemplated by all! You can listen to it on SoundCloud (starts at 6:30), and you can purchase the entire album (warning: explicit content) on BandCamp (name your price). 

Sapient Soul is Marlanda Dekine.