Tag Archives: Christopher Agostino’s Transformations

Body Painting Fashion Show: The Odd Ball at Real Art Ways

In April of 2009 Agostino Arts had a chance to try something new at The Odd Ball, the annual benefit party for Real Art Ways, an arts center in Hartford, CT. We brought a team of our Transformation bodypainters and a mountain of Aquacolors and got a group of their visual artists to join with us in creating a painted body fashion show.

The goal was two-fold: to create an unusual and fun performance art event for the benefit as entertainment for the guests, and to generate some excitement within the community of artists associated with Real Art Ways by giving them this opportunity to explore a new, living medium. Real Art Ways recruited the artists and volunteer models. Prior to the event I sent the artists some information about what kind of makeup we’d be bringing and the basics of how it applies, plus some blank body forms and the like that we use when designing new bodypaintings. The design process was left completely up to each individual artist. I also sent some information along for the models as to what they could expect.

We began the evening with a short workshop session to demonstrate the basic application techniques and some of the tricks of the trade, so that each artist could realize their own concept without feeling limited by any lack of previous experience. Aquacolors go on so easily that in the hands of painters it didn’t require much instruction to get them all going. Some of them had painted people before, and we had a number of our artists there to paint our own designs and help if needed. Bodypainting is fun, especially when it is being done just for its own sake like this. It is such a tactile and ephemeral process, and so collaborative between you and the model, that I think most artists experience a visceral sense of the creative act as they paint — and with a bunch of artists all together in one tight room painting away at a party it makes for a real good time. For me, it was especially exciting to see how artists used to painting on canvas and other medium brought their own style to the bodypainting.

We brought along a videographer, Ann Orrin, to document the process, and Real Art Ways had a studio photographer (Steven Laschever) shooting the finished results and a second photographer (G. Russell) also recording the process.

See the video:

or watch it on You Tube on the Agostinoarts channel at:  http://www.youtube.com/watch?v=Ih8LOWiX0ac.

Find Real Art Ways at http://www.realartways.org/

Real Art Ways foto gallery for 2009 Odd Ball:  .: View pictures from The Oddball 2009

Agostino Arts

Transformation Bodypainters

Christopher Agostino

Britt Lower

Laura Metzinger

Naoko Oshima

Jennifer Wade

with

Ezia Leach

Robbie Pack

Real Art Ways Artists

Joe Dinunzio

Heather Groenstein

Karen Higgins

Sam McKinniss

Victor Pacheco

Kyle Phillips

Alicia Purty

Bryan Stryeski

Jamie Wyld

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

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What Was He to Do? – a folktale — storytelling

a traditional tale retold by Christopher Agostino ©2011

While traveling from one town to another on business, two merchants were stranded when the bus they were on broke down. The bus driver stayed with his vehicle hoping someone would come by to help, but the men knew it was a very lonely road and thought they would walk on to the next town instead. After walking for several hours they hadn’t seen a soul, and they began to feel tired and hungry. They started looking for a good place to bed down for the night and wished they had something to eat. Then they saw a peasant with a pack on his back coming towards them from the other direction.

The two merchants stopped the peasant and asked him if he had any food to sell. All the peasant had was a cup of dried beans he was saving to cook for his breakfast. Really only enough food for one, but he probably would have shared it with the two men except that they asked if they could buy it, so what was he to do?

The peasant asked them how much money they had. The two merchants conferred, and it turned out they only had 10 centavos between them, as they didn’t carry much money when they went out into the countryside for fear of being robbed. Since they were business men dealing with a peasant they only offered 5 centavos for the beans. It wasn’t a lot of money for the peasant’s only meal, but money was money and he could always use a little more of it, so what was he to do? The peasant agreed and they made the exchange.

Since the beans were dry, the merchants needed water to soak them before cooking, and asked the peasant if knew where there was any. He told them he had passed a stream a few miles back, but the merchants were too tired to walk any further. Instead they conferred again and offered the peasant their last 5 centavos if he would go and fetch the water for them. Well, he probably would have gotten them the water anyway, but since they offered to pay him for it, what was he to do? He took their money and set off for the water.

He came back with the water and all the men had a drink, then the merchants wanted to get the beans soaking so they would be ready to cook for their breakfast in the morning. But then they realized they needed a pot in which to soak and cook the beans. Now, the peasant had just such a pot in his pack, as he often had to cook for himself as he made his way through the countryside, and he told the two merchants. With no more money in their pockets, the only thing the merchants could think of doing was offering the peasant a share of the beans in exchange for the use of his pot. So the peasant took the beans back from them and set them to soak, what was he to do?

Later, the peasant went off to get some wood for a fire. Left to talk, the two merchants decided that one cup of beans was not enough to share amongst three, so they devised a way to trick the peasant out of his share. When the peasant came back they said that since there was so little food it would really only be right if the worthiest among them was the one to get to eat. And when the peasant asked how they should decide who was so worthy the two merchants said they should let God decide. They would each go to sleep, and let God come to them in their dreams, and whoever had the holiest of dreams should be the one to eat the beans. Well, since they were two to his one, what was he to do? The peasant agreed.

It wasn’t the best of nights for the merchants sleeping on the hard ground with their stomachs rumbling from hunger, but they looked forward to the meal in the morning and trusted in their plan to fool the peasant out of his share. They woke to see the peasant already up and dressed. The two hungry merchants set about right away to tell of their dreams.

The first merchant said, “I saw the three of us standing by the side of the road when an angel came down and looked at me. He saw how worthy I was and put a silver cloak upon my shoulders, then the angel lifted me up and I rose on silver wings to be with God in heaven.”

The second merchant spoke next and said, “I saw the three of us standing by the side of the road when an angel came down and looked at me. He saw how worthy I was and put a golden cloak upon my shoulders, then the angel lifted me up and I rose on golden wings to be with God in heaven.”

Then the two merchants turned to look at the peasant, who said, “This is most remarkable. It is as if we all had the same dream. For I also dreamed that the three of us were standing by the side of the road. And I could hardly believe it when two angels came down from the sky and put a cloak on each of your shoulders. Then as I watched both of you rose right up into the sky and disappeared. God had decided you both were worthy, and there was I, left all alone by the side of the road. So I cooked the beans and ate them, what was I to do?”

I wrote this after reading “The Three Dreams” in Latin American Folktales, edited by John Bierhorst, Pantheon Press. That version is credited to Luis Arturo Hernandez Castaneda of Guatemala (but the notes don’t say whether it is from a book by him or a story he told that someone else recorded) and has the tale as two students in a city trying to outsmart an Indian, by pooling their money with his to buy some rice with the plan to trick him out of it via a dream. Two upper class people trying to trick a lower class person via a dream is a motif in folktales from various cultures, identified as motif type: “AT 1626 Dream Bread”

I retained only the basic structure for my version here, changing the characters, the setting and the sequence of events.

StoryFaces: The Power of a Story — reading and telling your own stories

by Christopher Agostino

StoryFaces: The Power of a Story
Folktales, Fables and Adventure Tales in a celebration of why we tell stories.
A special version of my StoryFaces performance for schools and libraries to get kids reading more and telling their own stories.

StoryFaces: The Power of a Story is a special program of traditional and original tales exemplifying why such stories survive, and what they can still teach us today — to encourage kids to find stories that relate to their lives and to tell their own stories about their dreams and aspirations. The power of a story is an essential expression of human consciousness: to understand ourselves better by learning about others, to reach forward into the future through what we pass on to our children and to take control of who we are and all we dream of becoming by the story we make of our own lives.

StoryFaces: The Power of a Story is a 45 – 60 minute performance for school aged children and family audiences. The performance includes a range of stories from Aesop Fables to adventures like “The Tiger that Went to the House of the Sun”, with variable content for different ages, plus a brand new story created specifically for this Summer’s Library Reading  theme to get kids thinking about what they could do to Build A Better World for everyone:  “The Storyteller and the Magic Fish”
There is also an available follow-up activity in which participants create an original story in which they are the star through a drawing exercise and writing:
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This article is part of the teacher’s guide I send to schools, explaining my approach in the assembly program. For a printable pdf of this article, click on this link: Tshow_TeacherGuide_PowerOfAStory

What is the Power of a Story?

Who won the race, the tortoise or the hare? We all know the answer, and with it an intrinsic reminder about the value of perseverance. This is why such stories survive. The traditional function of folktales is still effective today: to pass wisdom and cultural information on to children via entertaining stories they will remember (and repeat to their children). We remember stories. They are the building blocks of memory. Current memory research says that we are always telling ourselves the stories of our own lives, repackaging our experiences into stories to retain and recall them, and, importantly, how we re-write those experiences effects the choices we make when presented with similar opportunities in the future — so even our personal stories serve to retain life-lessons in the same way as Aesop’s Fables do.

The power of a story also resides in its ability to inspire the listeners and elevate their understanding of what they can achieve beyond their personal experiences, as in the Native American tale of the mouse who becomes an eagle through his acts of compassion, or the ancient Chinese tale of the brave maiden Li Chi who slays the dragon then chastises the spirits of the maidens sent to sacrifice before her for not taking care of the dragon themselves. Taking control of our life through the story we make of it is the essential lesson of the hero tale.

Hero tales are the original Motivational Programs, designed and time-tested to inspire positive behavior and exemplify attributes such as courage, perseverance, intelligence and self-sacrifice. These types of tales are especially important for older kids and teenagers to hear as they begin to deal with personal responsibility and the emotional turmoils of life, questioning who they are and seeing themselves as either victims or heros in a challenging world. Folktales also allow for ways to discuss real life more abstractly, through parables and imaginary characters, so that a story can approach difficult subjects without being too personal.

Young people need to hear stories, both traditional folktales and original life stories, not only for their ability to pass on received wisdom but also for the insight they give kids into understanding the story of their own life, into taking control of how they write that story. Beginning with the concentration skills that develop from listening to stories, the ability to parse the essence of the story within a folktale, anecdote, life experience, etc., engages higher reasoning and comprehension skills that can be applied directly to writing, reading and all forms of problem solving.

When I am telling a story to an audience, what I am listening to is their silence — when the audience is silent I know they are experiencing the story for themselves, living it. It is becoming their story too. In that silence I recall that this is something we humans have done from our very beginning. The power of a story is an essential expression of human consciousness: to understand ourselves better by learning about others, to reach forward into the future through what we pass on to our children and to take control of who we are and all that we dream of becoming.

StoryFaces_Video-playTitle1

See the video: What Is A StoryFace?

“I am a painter and a storyteller, and this is how I tell my tales. StoryFaces is an innovative performance in which I paint the faces of audience volunteers to illustrate the stories as I tell them.”

learn about Christopher’s Stories

learn about all we do at: agostinoarts.com

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