where the heart lives
is not in my chest
where the heart sleeps
is a space where spirit forms the wall
what I want now is not what I wanted then
my heart voices tomorrow
my heart creates a freer tomorrow
where what I do is only
what I do
making the words hold
dreams until they flower
Aleksandra Markowska, Polish singer, 2 years ago fell madly in love, with of all things, Improv Theatre. Just how did this happen? She saw a group perform in Warsaw, “and felt that is was something for me; I’ve always wanted to be creative on stage, so just like that I started to do improv.” Prior to falling head-over-heals in love with this art form, Aleksandra was a singer, a puppeteer and mimed, and also, played the flute when she was younger. But she emphasizes, “only when I’m improvising do I feel that I am full.”
Aleksandra loves working with groups, so in addition to singing, she has improv musical duo with Malgorzata Lipka, as Danusi Amarylis. About this duet, she states, “Mag and I feel each other; we don’t have to rehearse.” Aleksandra believes the easy rapport that they ignite on stage resulted because they sang together for a long time. Continuing, she adds, “this is the best type of improvisation; you have to know your partner, be able to feel each other and be very empathetic. This is my magical aura – I’m empathetic; I have very good intuition.”
Loving being at Arte Studio Ginestrelle, Aleksandra credits “Maggie (Malgorzata); she found the residency; she wanted to be in Italy and invited me to join her and do the project. It’s crazy but I like it.” Aleksandra is pleased to have some time to spend working on the project, discovering as they work together, what it will be. Aleksandra chimes, “I’m very happy to be here; I’ve met great, powerful women from all over the world, and the place is magical, calm, full of inspiration. I saw scorpion, for the first time saw figs growing on the tree. I really like being here, breathing the air, and the water here is so great to drink and take a shower. I feel like I’m in paradise…nature is beautiful.”
Aleksandra hopes that their stay at the residency will propel their project further and make it fuller. Their goal this fall is to begin performing twice month in Warsaw. She remarks that whenever they performed in the past, “people loved it!” 
To learn more about Aleksandra Markowska, visit her on Facebook:
Małgorzata Lipka, Polish, choir conductor, has a MA in choir conducting and music arts. She was a violist for 12 years, and still plays, although now she refers to herself as, “a singer and a choir conductor, a teacher, and sometimes an actress. I also play violin, but I don’t do it in a classical way anymore. I am soprano, and find it easy to get high notes; the color of my voice is bright…” An indeed not only is Małgorzata’s voice bright, but she beams and has a vivacious personality.”
Having lived in Italy in the past, Małgorzata is inspired by its culture, 
and this was her driving motivation to be in resident at Arte Studio Ginestrelle, to develop a project with friend, Aleksandra Markowska. They are working on a music and theatrical improvisation piece, in which they plan to incorporate some of the local music of Assisi. Also, Małgorzata adds, “Coming here, I’m hoping to meet international people from all over the world who can influence my work, in some way.” While there is no pressure to create new work or even develop a project, Małgorzata is motivated and wants to make sure “I spend my time in Italy in a productive and creative way.”
Seven years ago Małgorzata and Aleksandra met in Warsaw, where they live, while participating in a jest choir, and from there they quickly developed a friendship. They became roommates and began doing projects together, including forming a vocal quartet, which led to improvisation about destroying art. Thereafter they began a duet at the Night of Museums, where “we started exploring different sounds, and discovered we were having fun; we agreed that music is not just about notes and rules, but also about freedom.”
Małgorzata said she missed this freedom she discovered working with Aleksandra, and realized that that aspect was missing from “the things I was doing in Warsaw. With us, there are no rules. We know each other so well, we feel the vibrations as a result of talking for hours.” Resulting from the above mentioned show, they performed at Comedy Club, which they realized was “an important place to improvise, and the public liked us.” The rest, so to speak, is history. They were ready to forge ahead and hone their craft. It was Małgorzata’s idea to do the residency and she asked Aleksandra, who readily agreed to join her.
After listening to them practice most of the morning, being lulled and carried by their harmony, I joined them to learn about their project. They were in the middle of practicing “The Flower Duel” by French composer Leo Delibes, but were getting ready to switched gears. In Assisi, they bought a score by an unknown Italian composer, based on old Italian music, as they wanted to sing something in Italian and something religious “because we were inspired by the religious atmosphere here. We are also practicing modal church sounds –the voice we are using is more serious, like opera singing, but when we perform we use our more natural voice or pop.” Although their root is classic, they met doing pop. Malgorzata enjoys, “many different vocal techniques,” and plans to develop an improve repertoire with Aleksandra.
To learn more visit Małgorzata Lipka on Facebook
Harriet Wheeler, British violinist, lives and works in Denmark, and was at Arte Studio Ginestrelle to work with Signe Lykke, Danish composer. Intense and committed to being a first class player, Harriet says, “I just aim to continue improving and evolving and bringing joy with the music I make.”
Harriet first became aware of Signe last year when she heard one of Signe’s compositions being played. Although the piece was for the clarinet, she liked it so much, she contacted the composer, “and I asked her to write me a piece, and she did, “Blue Season,” which is a wonderful piece.” Harriet smiles at this memory, looking very much like a young Jacqueline Kennedy.
As a result of listening to more of Signe’s compositions, and getting to know her personally, Harriet and Signe decided they wanted to collaborate, to explore how composer and musician can work together. Once they arrived at this realization, they looked around for a space to begin this partnership, and learned about Arte Studio Ginestrelle, and were thrilled when they were accepted.
Practicing is fundamental to being a good violinist, and Harriet practices an average of 3-4 hours daily. When practicing and playing, everything else ceases to exist, and she gets lost in a world of musical communications. She is open and available to all.
“I don’t have a favorite composer; it changes too often and there are so many greats! I guess something about having a thirst for all styles of musical languages, especially classical?”
Although it is not usual for composers and musicians to work together on a piece, Harriet believes this should change. Reflecting on an orchestra, Harriet says, “Contemporary music is created by composer, but Signe and I are combining the process, to explore what is possible with the violin, in a way that is natural for the violinist.” Finding the possibilities and arriving at what is comfortable to violinists and other musicians is essential, Harriet states. “It takes a lot of time, and we need freedom to experiment –try different sounds. The process of us working on it together has been very rewarding. Signe would write something and give it to me, and she told me what she was thinking, and I was able to incorporate her ideas because she always asked me about things.”
Harriet and Signe will continue to work and develop this piece that will be performed -Spring 2016. “We will play with a young string ensemble in Denmark, work with young children to explore their instruments, and hopefully they will get more excited about playing.”
To learn more about Harriet Wheeler, visit her Facebook page.
Nestled in the lush, verdant mountains of Subasio, Assisi, Italy, Arte Studio Ginestrelle, artist residency was established in 2007 by Marina Merli, the soft-spoken, gracious, director. Located in the Regional Park, the environment is tranquil and inviting, and ideal to start or complete any project. I certainly accomplished more in three weeks there than I did in the previous four months.
Marina Merli says, “The idea to develop an artist-in-residency program germinated after I finished my degree in Economics of Tourism and worked in the field of management. My desire grew to plan a cultural program at Subasio, the ‘sacred mountain’ of Assisi, to connect old traditions and history to contemporary minds worldwide. One of my aims was to offer opportunities for people interested in learning about the heritage of Umbria.” Known as the green heart of Italy —il cuore verde d’Italia— a phrase, lifted from Giosuè Carducci’s poem, Umbria is bordered by Tuscany to the west, Marche to the east and Lazio to the south.
I have been asked why do I need to go some place far to do my work, and the answer is simple. I go where what I do matters, and where I am given the time and am in a community that is likewise engaged. Another important aspect is the exchange that often occurs at great residencies. Marina concurs, “I think one of the main aspects in a residency program should be to create an International, cultural network for artists worldwide.” While I was there, artists from USA, Denmark and Russia were in attendance, painters, musicians and writers, creating a richly diverse setting.
Marina notes, “artists who apply to Ginestrelle are attracted by the natural landscape and are interested in finding a quiet place to focus on their projects, as well as the possibility to meet international artists.” Mount Subasio of Assisi is a journey into the past. “We can still breath the authentic style of life, sustainable and in harmony with nature. The ancient forest and sanctuaries (one of these is Madonna dei Tre Fossi from X century) represent the richness of this secret side of Assisi.” Marina continues. At Ginestrelle, where memories are preserved, you will connect to one of the cultural goals of the program.
In keeping with the personal and economic family values of Italians, Marina began this residency in collaboration with her parents who serve as board members of the Cultural Association Ginestrelle. Marina is grateful for their support and says, “They have always been involved in the projects.” And indeed they are, much to the delight of residents for the amazing breakfast that is prepared daily, mainly by Adria, Marina’s mother. But throughout the day, both parents are busy tending the grounds and attending to other things on and around the site. Mrs. Adria Eugeni serves as CEO Chief Executive Officer, and Mr. Enzo Merli, as Treasurer.
Yearly, Ginestrelle host an international art exhibition of projects developed by resident artists throughout the year, under the auspices of the cultural association of which Ginestrelle is a registered member of Assisi’s associations. The Assisi’s Council provides a prestigious art gallery space for the exhibition that will take place in November, 2015. For more information about this residency go to: http://artestudioginestrelle.wordpress.com/
Signe Lykke , Denmark composer, credits her desire to collaborate from her non-classical, jazz background. However, she has a MA in classical composition, but believes that process is important, and that contemporary composers, such as herself, need to be familiar with the musicians who will be playing their music. This is one of the reasons why Signe is at Arte Studio Ginestrelle, with Harriet Wheeler, violinist, to compose a piece, and learn more about the range of the violin, and what sounds are possible with other string instruments.
Passionate, and deeply committed to this process, Signe is quite fascinated and eager to work closely with classical musicians because, she says, “As a composer, you need your musicians to be engaged in your music and to understand the deeper meaning of the music. You don’t want robots playing all the correct pitches; they have to put their own feelings/soul into the music.” Signe wants musicians to be able to identify with the intention behind the composition. She stresses: “When it’s new music, and you are the composer, you need to talk to the musicians, come up with a language you can both relate to and understand. “
As a composer, Signe is curious, and listens keenly to the various instruments, so that when composing, her compositions are stamped with her identity. We (she and Harriet) are doing a portfolio, examining different ways of exploring the violin.” She adds that what she is doing is not innovative, nor does she think it will amaze the world, but she beams, “The process is amazing! We have come up with all these sounds; to us they are innovative, and they are personal –we have been playing around, improvising, having lots of fun.” Signe believes playing around, discovering, is quite important, as well as necessary if a composer wants to collaborate and find new modes. Although, a long, tiresome process, Signe says they are almost there, but the hard work still remains, that being, to figure out how “to put these extend techniques on paper, to write them down so musicians know how to play them.”
”When you do new music, when you hand your final piece to your player, it should be readable and as accessible as possible. The musicians should be able to see the story, understand the feelings or whatever you, the composer, were thinking when creating the piece. I am quite excited.”
“I am about collaboration. I want to know what kind of musicians are playing my music. They all have unique sounds, but I have to get to know them as musicians, as artists, so that when I write a piece that is beautiful, they know where I’m coming from, and can put their soul into the piece.”
To learn more about Signe, visit her website: www.signe-lykke.com
Jude Harzer, USA Painter, teaches high school visual arts and states that she came to her painting life rather late as she had abandoned this talent and desire for almost twenty years . Instead she married and raised children, thinking that she could not successfully balance family and career.
But now fully committed to painting, she is at Arte Studio Ginestrelle to dedicate full time to work. She confides, “I’m in a state of personal transition regarding my marriage and creative pursuits. Also, my mother unexpectedly passed away about 18 months ago . This seemed like the perfect opportunity to attend this residency. The location near Assisi has personal significance as my mother shared a special affinity with St. Francis., the patron saint of Italy. Currently, in my work, I am investigating relationships between mother and child.”
Jude brought her mother’s ashes, which she scattered in Assisi. Her goal was to ‘create a found object altar piece that addressed familial relationships, celebration of women, legacy and how mothers, in particular, transfer their fears and beliefs to their children.” Jude believes that the intimacy of this relationship is the most powerful and profound. Her residency is a personal as well as professional journey.
Reflecting on her process, Jude adds, “Even though you work in isolation, necessary for most artists, you’re also desperate for a like minded community. In a residency you are with a caliber of artists, from a variety of disciplines, that feeds your intellect and creativity. This much needed inspiration rejuvenates an artist’s spirit. Also, of course, I get to come to Italy, a country abundant in visual beauty and art.”
Jude accomplished more than she had planned, while also staying faithful to her objective. Her work unexpectedly evolved , according to her, in response to the colors of the environment and the monastic quiet of the remote location. “The amber light of the atmosphere and the pink of the mountains , really impacted my work. I integrated the bees that came into my studio space as well and realized the relationship they held with the Madonna imagery that I was investigating. I was fascinated with the abundance of local shrines, placed at pedestrian and vehicle crossroads. I discovered that they are erected not only to celebrate the Madonna but also to ask her guidance when one is at the crossroads of life.”
Jude is at a good place in her life and looks forward to painting and exhibiting more.
To learn more about Jude Harzer, visit her website:http://www.judeharzer.com or like her artist’s page on Facebook:https://www.facebook.com/judeharzerart?pnref=lhc
Artwork : L’Ape Regina: Protector of Soul and Spirit mixed media, 2015
Known to some as Rosemarie Wilson, but known to most in the poetry world as One Single Rose, Wilson has performed her self-esteem, motivational spoken-word poetry in thirteen states and four countries to date. She can be considered an ambassador of Detroit, her home-state, that she endorses and represents proudly.
Speaking about her development as a poet, One Single Rose says, “I’ve always had a love for words and books. As a child, when my mom would take me shopping, instead of running towards toys I’d run to the bookshelves. I’ve been writing poetry since the second grade when I won my very first poetry contest. In adulthood, I picked up my pen once again writing songs, but the journey poetry is paving for my life is continually amazing.”
And amazing indeed, as this past August, One Single Rose attending the Kistrech Poetry festival, her first trip to Africa, the motherland, “but not my last,” she beams, adding, “I am forever grateful to the Kistrech Poetry Festival for selecting me as a spoken word performer in the 2015 festival.”
An incredible singer and performer, combing music and words, One Single Rose was a hit with students.
As a child, One Single Rose’s was taught “if you don’t have anything nice to say, don’t say anything at all,” and this is reflected in her overall attitude, and defines the content of her poetry. Asked, what she took away from the festival, and Kenya in general, One Single Rose, offered some insightful observations.
“Sometimes we tend to fear what we don’t understand. Prior to traveling to Kenya, I was warned about not doing this or that, not to go here or there by people who had never traveled to that part of the world. Kenya is a beautiful country with beautiful people and a rich history. Some areas in Kenya don’t have all of the bells and whistles that we have in the United States, but the people are happy. Children don’t have school books, running water, flushing toilets or electricity, but they’re bilingual and are very well educated. Some things we take for granted would be luxuries in Kenya.
“I have learned not to judge books by their covers without first reading a few pages. Poets and writers share a common bond—love for the word. I learned a lot from the poets who participated in the Kistrech Poetry Festival from different parts of the world about their cultures and their performance styles which were in some ways the same as how we perform in the United States. Watching and learning from the poets who mentored during the festival made me even more aware of this fact –we are similar and connected.”
Her poem below is an example of her message, but you have to see One Single Rose in performance to truly experience her poetry.
As One
At first sight, we knew we’d come together as one.
Slowly becoming acquainted until comfort set in,
Appreciative of time taken to learn one another.
Everything gazed upon is loved from head to toe:
Smiles that make the spine chill as the interior froths;
Mental challenges forcing contemplation;
Ears that hear speech emitted by motion . . .
Every second is precious—never taken for granted.
Our dreams become reality.
Met at the right place and time when loving is easy,
Making persistent strides to continue as one.
Together composing romantic volumes of non-fiction,
Deleting final chapters.
There’s no end in sight.
©2009- All Rights Reserved
Rosemarie Wilson aka One Single Rose
For more information on One Single Rose visit her websites:
www.onesinglerose.com ; One Single Rose | Poetry, Prose and Song
Erling Kittelsen, from Norway, has been writing since he was 14.years old, “as a way to survive,” he says. He was one of the poets in the 2015 Kistrech Poetry Festival, and says he was happy to participate in this festival, as he “loves the feeling of Africa.” Kittelsen has been to Africa four times before. He reminisces, “ I was in Tanzania long time ago, for my own writing and understanding.” His second trip was to “Mali because of a theatre play,” and as a result of his participation in that production, he traveled and performed “all over the country.” Another trip took him to, Namibia/Botswana, where he attended a dance festival in Kalahari, but the main reason for his visit was to learn about the San people.
Poet, novelist, children’s writer, playwright and translator, Kittelsen made his literary debut in 1970 with the poetry collection, Wild Birds, which he describes as “meditation pictures.” His poem, “How to Fly,” is one such example.
Human bird
we throw you
off the cliff
do you know how to fly?
Considered an experimental poet with a strong social consciousness, Erling Kittelsen draws from fables, legends and oral poetry from various cultures. His work is in defense of social and cultural concerns, as well as the environment and some of the negative effects of technology. Kittelsen was awarded the Mads Wiel Nygaard’s Endowment in 1982, the Aschehoug Prize in 1990, and the Dobloug Prize in 2002.
Speaking about his participating in the Kistrech Poetry Festival, Erling Kittelsen says, “It was very interesting for me because of the other participants and the good feeling of Africa that learn me a lot.”
Opal Palmer Adisa 