February 2021 – Mostly Dance

Moving to Costa Rica, I brought a few watercolor supplies with me and thought that I might like to experiment with this medium. When I saw that Eric Rhoads had put together an event called Watercolor Live. I decided to check it out so that I might learn some basic skills! The first day was for beginners and then there were three days that followed, pitched to all levels of watercolor painters. I definitely was a beginner so I knew that I would sign up for the first day, and then I thought why not just sign up for the full event? I am so glad that I did.

First of all, I was familiar with the quality of events that Eric Rhoads puts together, having attended a Plein Air 4-day event in Santa Fe held at Buffalo Thunder a few years before. I had learned a lot and thoroughly enjoyed it. The artists that he put together for the event were first rate and I was familiar with several of them prior to attending. In December I spent some time at the website for Watercolor Live where I could see the excellent quality of artists who would be demonstrating during the 4 days of the virtual event[.

There were so many pluses for signing up. First of all there was no way that I could attend any kind of live art event, even here in Costa Rica, because of COVID!! Second, I was getting frustrated with my limited knowledge, and so far my watercoloring was limited to making very simple Christmas cards for friends and workers here in Costa Rica. Third, I was hungry for some stimulation. My husband, Murray, had passed away in the fall and so much time was being spent on handling business things that needed to be done, that a change of pace was definitely important.

So I signed up and wow what an excellent experience. I loved spending four days from 10 AM to 10 PM just thinking about ART. It was non-stop and only occasionally did I pause to take a quick swim in the pool or to walk around the house a bit. I was mesmerized by the variety of different demonstrations. There are three options for buying the event. I had selected the middle option where I can go back and replay segments for 60 days. I am satisfied with that choice as there are quite a few sections that (although interesting) I have little desire to replay, but there are quite a few that I look forward to going back to and watching maybe several times. Beside the formal demonstrations there were other elements that stood out for me.

Suppliers of watercolor brushes, paper and paint presented segments too. And they weren’t just commercials. Instead, they often had an artist explain a technique or show how a product could be used. The first day began with basics about Understanding Materials. It was a perfect way to begin and even more important, it introduced me to Birgit O’Connor, whose floral watercolor paintings are breathtaking. She offers online courses that I might consider taking, down the road. The next session, by Kim Minichelle, related to color mixing and working with a limited palate, and was also very on target. Shuang Li’s demonstration on basic washes was one of the few demonstrations where I decided to paint along with her as she demonstrated. I did of course spend time later working on some of her techniques and have used them in the beginning paintings I have done. Another highlight from the first day was a critique session led by Antonio Masi. As he commented on some watercolor paintings that participants had submitted I realized what had been bothering me about an oil painting that I had almost completed but which I knew had problems!! That evening I figured out what I needed to do to improve the composition of an oil painting inspired by several orchids and while I didn’t get to it until after the four-day workshop was over, the key to solving the problem was learned in Masi’s critiquing session.

Oil painting inspired by several orchids
Completed February 2021 after hearing Masi’s critique session.

In fact, one of the best things about the workshop was that it wasn’t only about watercolor paintings; it was about art in general. I was constantly reminded how important it is to continue to work on my sketching skills and to regularly evaluate the composition of my paintings. Also stressed was the importance of spending two hours a day painting even when not inspired.

One of the things that doesn’t work for me and which even now I have no desire to do, is to paint along or copy someone’s painting. I am sure that one can learn techniques in doing this but it is an uncomfortable exercise for me. My preference is to watch and see what I can take away and maybe explore as one aspect or new technique of the painting and then to apply it to my own compositions. I will continue to do that over the next few weeks as I replay. I am also thrilled to have so many good painters’ websites to explore.

Each day there were breakout groups of about 8 people, where for about 25 minutes we could meet other participants from around the world. We could learn about what kind of work they were doing and sometimes see examples of their art work. Most of the break sessions were good but occasionally someone dominated and that took away from a real sharing. We were regularly warned about not doing that. On the whole most people were respectful and I felt it was valuable to participate. I attended almost all of the 8 breakout groups that took place, spread out during the 4 days.

Another very nice element of the event was that all of the demonstration had been pre-recorded and the artist participated in a chat so that students could ask questions during the demonstration, similar to what happens if one is attending a live event!

During the three days of the regular event there was a great variety of presentations, from portrait painting, landscape both plein air and from photographs, cityscapes and a final seascape from well known Australian painter Joseph Zbukvic, truly a master! It was exciting to see so many different techniques and so many fine painters.

Just as I know from my dance days how important it is to be totally immersed in dance, so I felt that same energy being engaged in art even though it was virtual. I came away refreshed and inspired and already I can see a big difference in how I am working in the medium of watercolor.

I highly recommend participating in the events that Eric Rhoads puts together. He just recently had to cancel this year’s Plein Air event scheduled to meet in Denver, for the second year in a row. He had already put together a virtual plein air event (https://pleinairlive.com/2021-register) that was going to be held anyway based on the enthusiasm of last year’s participants. That is the next main event he has planned. In addition to planning this virtual event he has held daily events for artists through the pandemic called Live With Eric Rhoads. Participating when they are happening can be done via Facebook and there are replays available at YouTube at Streamline Art Video Channel.

Eric is a real gift to artists as he has really figured out ways to reach artists during COVID and as a result is getting a worldwide following. He is himself a studio and plein air painter who has made his living as publisher of PleinAir magazine and Fine Art Connoisseur magazine as well as publishing a series of videos, putting on conferences, and writing his own book related to art marketing. At the end of each day he held a “virtual cocktail party” via Zoom where he talked to different participants. A setup was also available so that one could paint at this time as well! I enjoyed doing that the first day and had fun when he called on me to share what I was painting and where I was from. It was fun to share I was in Costa Rica and learn of his enthusiasm for possibly bringing a group to paint in Costa Rica. Right now he has a tour planned for Russia.

To conclude I share two recent watercolor paintings I have done, inspired by views here on the property. A big leap from the little Xmas cards I had been doing. I look forward to seeing where my skills go as I study the sessions and learn more techniques I can incorporate into my landscape paintings inspired by the beautiful property I am very grateful to live on.

View 1 from the Property
Completed February 2021

View 2 from the Property
Completed February 2, 2021

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While not a very long flight or very far, our first international tour was to Toronto, Canada in October of 1995. I didn’t remember much about it until I mentioned to Kezia that I was planning to do a blog about the tour. She happened to be sorting through lots of old files and found a program from the performance, which she scanned and sent to me. (She also found a photo related to another recent blog, which we’ve included at the end here.) We then emailed about a fun shopping trip we had one afternoon during a break and she said she still had the beautiful barrette she had bought (yes, photo at end of blog). Having the program brought back all kinds of memories for me both about the repertory we did, the cantor we performed with, the company members on the tour and the unique congregation where we performed.

While I am most grateful for Kezia’s editing skills, what makes working on this blog all the better is the fact that she has been a part of so many of the things I am writing about. She was a member of the company for 13 years, and then an Avodah board member, and we have a 34-year friendship. She also saves things. After many years and a series of moves, I no longer have programs and now have only scanned material from scrapbooks and personal files. It is wonderful to read an email or hear in a Zoom or phone call that she has a program or a photo of something I am planning to write about. So a deep bow of gratitude to Kezia for her friendship, her memory and her wonderful editing skills.

Now let me share about this first international tour. First of all since it was prior to 9/11 and before passports were needed for travel to Canada, all we needed was appropriate ID such as a driver’s license. Traveling and going through Customs were very easy for us. The four dancers (Kezia, Beth Millstein Wish, Elizabeth McPherson and Carla Armstrong) worked well together and it was a fun and easy group to travel with. Our booking was at Holy Blossom Temple as part of the 1995-96 “Our Musical Heritage” Series. The booking had been arranged by Cantor Benjamin Maissner and he would be joining us in accompanying two of the pieces.

Holy Blossom Temple is the oldest synagogue in Toronto, dating back to 1856. It is also a very large congregation with 6,500 members. It is affiliated with the Union of Reform Judaism, which serves congregations in Canada and the United States. I don’t remember exactly how we got the booking except that Cantor Maissner might have been at a Cantorial Conference we performed at or heard about us from one of his colleagues. For us it was exciting to be collaborating with the Cantor in the opening piece Hallelu (music composed by Cantor Benji Ellen Schiller) and also in Binding which is a retelling of the Akedah – the biblical story where Abraham is asked to sacrifice his son Isaac. Our usual pattern was to send the music to the cantor several weeks beforehand and then spend an hour or so rehearsing — coordinating cues and tempos. Usually it went very well, as it did with Cantor Maissner. Then we would focus on staging the other four pieces, as concerts generally consisted of six pieces.

Other works in the program included: Shema, a Holocaust piece set to poems by Primo Levi; Kaddish, set to the first 8 minutes of Leonard Bernstein’s Kaddish Symphony; Noshing, a comic piece about eating and gossiping; and Braided Journey, choreographed by Lynne Wimmer and based on the Ruth and Naomi story. Since I have written in previous blogs about all the other repertory except Hallelu and Braided Journey, let me share with you a little about these two pieces.

Hallelu was inspired by Cantor Benjie Ellen Schiller’s beautiful setting of Psalm 150 (“Praise God . . . with the timbrel and dance.”) Our dance piece opens with a dancer circling the space and then calling out “Tekiah” — the first call for the blowing of the Shofar (ram’s horn) on the Jewish high holidays. Other dancers join her, calling out more Shofar calls accompanied by movement, leading into the opening section of the music. A rhythmic section follows in which the floor becomes a virtual drum for patterns beat by the dancers’ feet, leading into the final section of joyful movement to Schiller’s inspiring music. Cantor Schiller is Professor of Cantorial Art at Hebrew Union College – Jewish Institute of Religion, and I knew her from our time as dance company in residence at the college. It was a delight to be able to choreograph a company piece to her work. In addition to her role at HUC-JIR she is Cantor at Congregation Bet Am Shalom in Westchester where her husband Rabbi Lester Bronstein is the Rabbi.

From *Hallelu*
l to r: Beth, Elizabeth and Kezia

Braided Journey, choreographed by Lynne Wimmer, tells the story of Naomi and Ruth and is divided into three sections. Section I is titled “Return unto thy people” (Naomi to Ruth). Section II is “Entreat me not to leave thee” (Ruth to Naomi), and Section III is “Thy People will be my people.” The piece is set to music by The Bulgarian Women’s Choir. Lynne and I have known each other for years and it is always an honor when I can collaborate with her. Lynne has a long dance history, including joining Utah Repertory Company full-time immediately after graduating from Juilliard. She has had her own company and been a professor of dance at University of South Florida. The tour to Toronto was shortly after Braided Journey joined Avodah’s repertory, and in this program it was performed by Elizabeth and Carla.

While this was not my first trip to Canada, as Murray and I had gone to the Canadian Rockies, it was my first trip to Toronto, as I believe it was for the four dancers. We were glad to have a leisurely afternoon to wander through one of the neighborhoods which reminded me of the East Village in NYC. Kezia and I hung out together and had great fun going in and out of shops, including one that kind of reminded me of a vampire type funky store and actually had some unique velvet hairpieces, which we both bought. Amazingly Kezia still has hers!!

Kezia’s barrette that she bought on tour in Toronto in 1995 and still wears!

In the Blog published on January 4, 2021, “Touring in the United States, Part I” I wrote about the challenging adjustments the dancers had to make in each unique performance space, particularly on temple bemas. Kezia kept this picture of Congregation B’nai Jeshurun (Short Hills, NJ). She had also made a note that when performing the piece Gimmel there (choreography with a lot of wave-like movement, including rolling on the ground), the dancers rolled down the stairs!

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Month: February 2021

Outstanding Experience Participating in a Four-Day Virtual Art Event

Avodah Dance Ensemble’s First International Tour