Arts & Performance

A couple years ago, three Asheville women in their mid-20s bonded as production assistants on a film made in Atlanta. When the filmmakers decided to tour their film around the country, the women here had an inspiration of their own.

“So I just thought to myself, we should have them in Asheville. We should organize a screening and we should show some of our films, too, and how about other cool people from the area?” said Brittany Jackson. “Why not just make it a weekend and call it a film festival.”

If you’re a singer-songwriter who only needs an acoustic guitar for company, you can create and rehearse your music pretty much anywhere. But if you’re in a band, you need a place to spread out and be loud without bringing down nearby property values—or the police.

Bands in Asheville are so desperate for affordable spaces that there’s enthusiastic support—and growing financial support—behind an effort to open what would amount to just four rehearsal spaces.

In the 1970s and ‘80s, Jon Michael Riley made a lot of money as a corporate and commercial photographer, and his work anchored advertisements in major magazines.

“I had a client tell me one time ‘Well, we like to use you because you speak the language down here,’” Riley said. “Soon as I get to the south, my southern accent would come back.”

Like a lot of people fresh out of college, Hannah Kaminer found herself a little lost. So she left a life and teaching job in Waco, Tex. to return where she grew up. Her parents had divorced, so without a family home awaiting her in Black Mountain, she moved in with friends in Asheville.

“I mean, I loved teaching, but without community and connections, it’s really hard to live in a place,” Kaminer said.

If Yousef Natsha had his way, Israeli immigration officials would allow his partner back into the country, and Natsha would continue capturing video and photos of Palestinians living under the gun of the Israeli Defense Forces.

Everywhere you turn inside Sassy Frass Consignment, your eye catches bejeweled, gleaming crosses and other Christian symbols sprinkled among t-shirts, furnishings, glass baubles and other nicknacks.

Then there are very different signs about one special chapter in the store’s history -- the charred doors left behind by a firey Molotov cocktail and the giant block letters that temporarily hung on the building’s facade, spelling out Ebbing Police Department.

Michael Jefry Stevens stuttered badly when he was young, nearly died 20 years ago in a mugging and once declared bankruptcy.

So it’s a little odd to hear Stevens say he believes he’s the beneficiary of good karma.

In a way, Honor Moor has Donald Trump to thank for becoming a playwright.

“You asked me why I wanted to write a play. I think it’s more I had to write this play,” Moor said. “All the news was so compelling that I felt I wanted to get it down and I wanted to get it out. For me, probably, I felt like many people, hey, it was a way to digest all of it.”

Nina Kawar’s studio is the former principal’s office of Marshall High School, but her artwork gives this room the air of a science lab.

What started with a question about the future of a parking structure has led to a dynamic effort to develop affordable spaces in the city for creatives to live and work.

If there were a convenient way to do so, Constance Humphries would invite all her audiences inside her Asheville townhome to watch her perform.

“A gallery situation or small venue or even a house is ideal because I can be very close to my audience,” Humphries said. “I like to look at them, look in their eyes. I like to get in their space -- not in an aggressive way, but in a supportive way.”

There are t-shirts and bumper stickers, and no doubt city politicians have run on the campaign slogan -- Keep Asheville Weird.

“Asheville walks that fine line of being proud to be weird, but some people are also like ‘But I don’t want weird,’ you know?” said Jocelyn Reese, talking about the city’s annual bow to unabashed weirdness called the Asheville Fringe Arts Festival. Reese and her partner Jim Julien are co-directors.

There are likely enough singer-songwriters in Asheville to fill every coffeeshop and street corner in the city. But amid the region’s bluegrass, Americana and jam music, there’s a new effort to turn people onto the Asheville’s indie rock and punk scene.

Every other Thursday during the school year, a dozen or so teenagers of color meet in a repurposed classroom at Asheville’s Arthur Edington Center.

In 1967, school board members from a Brooklyn neighborhood were headed to England. They wanted to study how administrators there handled segregation and racial representation in the classroom.

Unless you’re wearing a hardhat in the vicinity of Pack Square, the construction sounds filling every workday are reminders how far away the Asheville Art Museum is from reopening.

“We thought we would be functioning on this site throughout the construction project,” said Pam Myers, the museum’s director for the past 22 years. “I think I said ‘Oh really, we’re really going to need to move, and move the entirety of the collection?’ It was fast and furious.”

Chelsea LaBate has two voices. In song, you hear the tone and vibrato of Fiona Apple, maybe even a little Billie Holiday. Then there’s LaBate’s inner voice, of resilience and sunny determination, to live and work as an artist.

“I think I have waves of feeling like I’m getting there, and then we all have whammies,” LaBate said. “For me this past year, it was my father died and I tool in my teenage brother, and I’m just now pulling out of that.”

In a land of Americana music and art imbued with the mountains, you can forget you’re in Asheville while you’re inside Revolve.

It’s a gallery and performance space in the RAMP Studios, an unmarked industrial building near UNC-Asheville. Revolve is dedicated to contemporary, experimental work -- meaning, it’s 180 degrees from the music and art you’ll generally find along the region’s paths of tourism.

City government, tax and planning commissions and nonprofit board meetings. Those settings naturally conjure ... mystery and romance?

They do if you’re Renee Kumor.

“I’ve been on nonprofit boards for years. I’ve dealt with staff members who’ve embezzled -- that happens constantly,” Kumor said. “The issues of conflict of interest. Just having a crisis of direction on the board, and I just decided those crisis discussions can end in murder, what the heck?”

CULLOWHEE -- Picture in your mind a traditional Cherokee Indian basket. You can see its shape, the bands of bundled pine needles or rivercane wicker, the painted patterns drawn from tribal imagery.

But when you these baskets, do you reflect on treaty violations, the appropriation of Native names and imagery or forced removal from ancestral homelands?

In John Hall’s classroom at ArtSpace Charter School, in Swannanoa, there’s an equation stamped in dark capital letters high up one green wall: Vision + perseverance = impact.

Hall teaches social studies, not math, so perhaps that’s why he’s found this equation elusive in his own life. He’s pursued some things and persevered in others. They just haven’t always aligned.

By many measures, including his own, David Hopes is a successful poet and playwright. He’s certainly an influential one, at least to those who have studied with him over the years at UNC-Asheville.

But by other measures, including his own, Hopes hasn’t achieved the notoriety one might expect of someone with so many works published and produced.

In “Rapture, Blister, Burn” at NC Stage, Rebecca Morris stars as a strong, independent woman quick to stand her ground. In many respects, she’s the woman Morris wishes to be.

“So in the rehearsal process, there was a lot of drawing that out (of me),” Morris said. “Your personal power or potency, standing on my own two feet and speaking my mind, whether I think people are going to agree with me or not, is very difficult for me to do.”

The Asheville Contemporary Dance Theatre is rehearsing a piece that depends on props and costuming that aren’t quite holding together.

At this point, performances are two weeks away, and Susan Collard doesn’t appear too worried. After 38 years of ups and down and dips and turns she could never have choreographed, Collard responds to these malfunctions with a smile.

“You have these visions of what you want to create,” Collard said. “And then (you have) the bill, and then ‘how do you raise your money?’”

NOTE: This is the second in a two-part series on the Asheville Symphony Orchestra's search for its next music director.

Here’s an interesting situation that becomes a piece of obscure trivia:

Daniel Meyer was among six finalists this past season to become the next music director of the Fresno Philharmonic, in California. The person who won the position is Rei Hotoda. Now, Hotoda is one of six finalists to succeed Meyer on the podium of the Asheville Symphony.

NOTE: This is the first in a two-part series about the search for the Asheville Symphony Orchestra’s next music director.

The Asheville Symphony is a part-time orchestra. Everyone responsible for the music has another job, or two jobs. So it’s a little stunning to learn how many people applied to become the orchestra’s next music director.

437.