Tag Archives: christopher agostino

Waking up to a joke…a song…a story — Bruce Springsteen and Jon Stewart’s take

Sometimes when I am performing, an idea for a new story pokes at me. Sometimes it comes to me in a dream as I sleep and I have to rush to write it down in the notebook beside my bed before it fades. And sometimes the story wakes me up at 4:00 am.

I know I’m not alone in this, but it still is gratifying when the real master folk I admire talk about the same creative process I experience. In Jon Stewart‘s interview of Bruce Springsteen in Rolling Stone, March 29, 2012, Springsteen talks about how when he’s writing an album the urge is like a “visitation”: “the guitar sits at the foot of the bed, you’re up at 4 a.m., you have the book nearby, the tape recorder…” and Stewart responds: “I used to love that feeling, nothing better than waking up to a joke. You wake up and go, “Shit, it’s right there.” It’s great.”

I agree with part of that. I love the compunction, the waking up in the middle of the night with the urge to write—but I don’t usually get that “Shit, it’s right there” feeling. The middle of the night inspiration is the first step of a journey.  It’s pretty rare that the story springs forth fully formed like Athena. Continue reading →

Revolutionary Slave Masquerader from Haiti, photograph by Phyllis Galembo — from Maske

by Christopher Agostino

I want to post just one more of the exceptional photographs by Phyllis Galembo from her book Maske, found in the article in National Geographic Magazine, April 2012. See the online article and her website for more.

 

 

“The tools of modern revolutions, a gun and a phone, are held by a masked youth. Other parts of his hellish carnival attire connect to Haiti’s past. To symbolize the suffering of slaves, he’s wrapped in a rope, his skin is glazed in charcoal and molasses—an inexpensive, easy-to-make masquerade worn since colonial times.” – from the text in the article by Cathy Newman. Charcoal and molasses!

These photographs are compelling not only for the quality of the mask and costumes, but also for the way Galembo photographs the masqueraders. There is a sense of presence to the mask and costumes in these photographs different than what you get looking at a photograph of a masquerader in motion, such as dancing or participating in the ceremony the mask is meant for—and certainly the images are much more powerful than the standard textbook shot of the mask just hanging on a wall. Her photographs focus so completely on the new being created by the mask and costume, and that is what I am responding to as I admire them.

She travels to these places and “puts her ear to the ground in search of masquerade ceremonies.” To photograph the outfits she has the masquerader pose themself however they choose, in front of a wall or such as a backdrop, and shoots just 12 photos. “‘Either I have it, or I don’t,’ she says.”

see the previous post about her work:

Three Boys from Haiti Become Pa Wowo — the Body Painting Photo of the Year

See my fine art bodypainting at  https://thestorybehindthefaces.com/body-painting/

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Three Boys from Haiti Become Pa Wowo — the Body Painting Photo of the Year

by Christopher Agostino

I know it’s only March, but I think I’m ready to declare this the best body painting photo I am going to see this year. Photographed by Phyllis Galembo, for her book Maske. I saw it in an article in the April 2012 National Geographic Magazine, along with ten others from the more than one hundred photos in her book of masqueraders from Africa and the African Diaspora.

 

 

“Not all masquerades require masks, or occur in Africa. In the Haitian port city of Jacmel three boys become Pa Wowo—painted, coconut-leaf-skirted peasants who personify poverty—for the spring carnival.” —from the accompanying text by Cathy Newman.

This is the true art of transformation—body art and masks used to make a social statement within a cultural context—this is true art, in the original social function for why there is art, before art became a means of decoration and personal expression in a Western context. Nothing I’ve ever painted for a competition, demonstration or in the studio holds a candle to the real thing like this.

See my fine art bodypainting at  https://thestorybehindthefaces.com/body-painting/

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