Your One Wild and Precious Life: End of Year Campaign
We are full of wonder and gratitude to announce that, due to the generosity of our most committed donors, we have already received over $8,000 in gifts, which bring us more than halfway to our end of year campaign goal of $14,000. We need you to join us in building a culture of dialogue and healing in the public sphere. Your contribution makes you a standard-bearer in the cause to build a culture of encounter and mutual respect.
Our theme for Festival of Friendship 2021
Photo courtesy of: Sister Thea Bowman Cause for Canonization
by Suzanne M. Lewis
We are full of wonder and gratitude to announce that, due to the generosity of our most committed donors, we have already received over $8,000 in gifts; this brings us more than halfway to our end of year campaign goal of $14,000. We need you to join us in fostering dialogue and healing in the public sphere. Your contribution makes you a standard-bearer in the cause to build a culture of encounter and mutual respect.
We have found that the best tools for fostering true dialogue and effecting real healing within our broken culture are humanities education and free cultural events.
Humanities Education
Despite an overall increase of 29% in bachelor’s degrees awarded over the ten-year period ending in 2016, the steady decline in the number of humanities degrees conferred has only accelerated. In 1967, 17.2% of all degrees conferred were in the humanities. By 2014, that figure was down to 6.1%. Why should this precipitous drop concern us?
The very name “humanities” provides the answer: the various subjects that make up the humanities provide a curriculum for becoming more human. The more we lose touch with the humanities, the more we lose access to certain dimensions of our own humanity.
“Where scientific observation addresses all phenomena existing in the real world, scientific experimentation addresses all possible real worlds, and scientific theory addresses all conceivable real worlds, the humanities encompass all three of these levels and one more, the infinity of all [imaginable] worlds.” ― biologist, Edward O. Wilson
The humanities teach us how to extract and absorb facts from a document, how to interpret data, particularly in relation to the whole field of knowledge, and how to evaluate whether a claim is true or false; they also show us how to formulate an argument and find evidence to support our own claims; most importantly, they put us in conversation with others who grapple with the same human questions that preoccupy us, expose us to other perspectives, and open us to continuous learning – even teaching us how to learn from those with whom we disagree.
A quick visit to a handful of social media platforms, or a cursory scan of the headlines for competing news outlets, provides overwhelming evidence of how the tragic decrease in humanities education has had devastating effects on our public discourse.
“Depth of understanding involves something which is more than merely a matter of deconstructive alertness; it involves a measure of interpretative charity and at least the beginnings of a wide responsiveness.” ― English literature scholar, Stefan Collini
With these considerations in mind, Revolution of Tenderness has founded Convivium: A Journal of Arts, Culture, and Testimony, Convivium Press, and the Festival of Friendship. Each of these initiatives provides educational tools and programming to introduce humanities education into the public sphere. We sell our journal, and all other educational resources, at cost so that they may be accessible to the greatest number of people. Our free cultural programming offers content from pre-eminent scholars and experts while modeling the practice of respectful dialogue.
Free Cultural Events
The annual Festival of Friendship, our largest free and open cultural event, contributes a celebratory dimension to our educational work. This year, though we had to move the Festival online, we had nearly 1,300 attendees, a new record for us!
While our printed texts, videos, and other materials provide crucial substance, our events confer a body with living, human features. Without this living body, learning becomes a dry and toilsome duty, a “prize” to capture and use, or a meaningless intellectual exercise. Instead, our free events serve as life-giving feasts for the human heart and mind.
Our next exciting project will involve a commission for a new piece of music from composer Richard Danielpour, who spoke at the Festival of Friendship last month. The projected performance will take place in early 2021. We’ll provide further details as they become available.
Our working hypothesis, that “all things cry out in unison for one thing: Love” (13th Century friar and poet, Jacopone da Todi), allows us to “assume an extended shared world” (Stefan Collini) and meet anyone and everyone with curiosity and an embrace. Our festive gatherings serve as laboratories, where speakers and performers present their findings and launch new experiments in human flourishing.
Your generous support for Revolution of Tenderness makes you a creative protagonist who generates a culture of dialogue in the public arena. Please contribute to our end of year campaign today. Revolution of Tenderness is a 501(c)3 nonprofit. All donations are tax-deductible.
“A Woman’s Life” Program Note from Richard Danielpour
Dr. Maya Angelou read seven poems to us, sometimes clapping in rhythm with the poems, sometimes repeating lines of the poem that were not actually repeated in the text. By the time she finished, I was in tears. It was one of the greatest performances in my life that I had ever witnessed.
Soprano Angela Brown and composer Richard Danielpour at a Nashville dress rehearsal for “A Woman’s Life,” a song cycle composed by Danielpour on the poems of Dr. Maya Angelou. Register for “A Woman’s Life,” an online performance by soprano, Angel Riley, on October 17 at 7:30pm Eastern. Richard Danielpour will be available for a live Q&A session immediately following the concert. Tickets are free, but preregistration is required. Photo by Mitzi Matlock
Full program note from Richard Danielpour:
A WOMAN’S LIFE was composed in the summer of 2008, roughly 2 years after a meeting with Maya Angelou, at her town house in Harlem. I had mentioned to her that the Philadelphia Orchestra and the Pittsburgh Symphony were commissioning me to write a work for Angela Brown. Angela had sung the role of Cilla in the Premiere run and in subsequent performances of my opera Margaret Garner. I had an idea of approaching Dr. Angelou, who had been a friend for many years, of a song cycle for a voice and orchestra that would show the trajectory of a woman’s life from childhood, to old age. She mentioned that this already existed, hidden, in her book of collected poems and promptly asked her assistant to furnish her a copy of her book. I was with my wife that afternoon, and she read seven poems to us, sometimes clapping in rhythm with the poems, sometimes repeating lines of the poem that were not actually repeated in the text. By the time she finished, I was in tears. It was one of the greatest performances in my life that I had ever witnessed.
Writing the work was relatively straightforward after having memorized the way she read these poems so eloquently and so beautifully. It was not until I finished the score that I realized that I was writing about her life, about the life of Maya Angelou. Now many years later, I understand that it is not only about Dr. Angelou’s life but also about the lives of many women who in their struggles and suffering have managed to prevail.
The Pittsburgh Symphony premiered this 24-minute cycle in October 2009. Subsequent performances by the Philadelphia Orchestra and many other American orchestras have occurred since that time.
Richard Danielpour, October, 2020
An Interview with Angel Riley
Angel Riley is an emerging American soprano embarking on a promising career. Angel’s exciting stage presence and rich vocal color distinguish her performances, resulting in her winning a coveted position as a 2020 Gerdine Young Artist with the Opera Theatre of St. Louis. Register to attend Angel Riley’s October 17 (7:30pm curtain) performance of A Woman’s Life: A Song Cycle by Richard Danielpour on the Poems of Maya Angelou. This concert is free, but requires preregistration.
In the Particular, We Discover the Universal
Angel Riley is an emerging American soprano embarking on a promising career. Angel’s exciting stage presence and rich vocal color distinguish her performances, resulting in her winning a coveted position as a 2020 Gerdine Young Artist with the Opera Theatre of St. Louis. Register to attend Angel Riley’s October 17 (7:30pm curtain) performance of A Woman’s Life: A Song Cycle by Richard Danielpour on the Poems of Maya Angelou. This concert is free, but requires preregistration.
by Meghan Isaacs
On October 17, the Festival of Friendship will present a song cycle by prominent American composer Richard Danielpour, entitled A Woman’s Life, to be performed by soprano Angel Riley, accompanied by Lucy Tucker Yates on piano. The seven-movement work draws on the poetry of Dr. Maya Angelou, and like so much of Dr. Angelou’s oeuvre, presents a very particular experience that manages to resonate universally.
Danielpour set out to compose a song cycle for soprano Angela Brown, and already had Dr. Angelou’s poetry in mind as the libretto when he met with the poet at her townhouse in Harlem. When he asked Angelou if she could provide the text, she immediately knew which poems to select. “I was with my wife that afternoon, and [Dr. Angelou] read seven poems to us, sometimes clapping in rhythm with the poems, sometimes repeating lines of the poem that were not actually repeated in the text. By the time she finished, I was in tears. It was one of the greatest performances in my life that I had ever witnessed,” said Danielpour.
Several years after the premiere of A Woman’s Life, emerging young soprano Angel Riley, then a vocal performance student at UCLA, first encountered Danielpour’s music through a performance of his oratorio The Passion of Yeshua, in which she participated with the UCLA chorus. Provoked by his musical language, Riley reached out to Danielpour, who suggested she explore A Woman’s Life. Riley went on to engage in an independent study with Danielpour, during which she (along with Yates as pianist) worked through much of the song cycle under the composer’s guidance. Riley (who recently completed her Master’s degree with aims to begin an artist’s diploma program in fall of 2021) took time to reflect on the music and what it has to say to audiences today.
Tell us about your relationship to A Woman’s Life?
I’ve been with this work for a while now, and I guess the most important thing about this set is that it follows the life of an everyday Black woman in America, and it sheds a positive light on her experience. Richard Danielpour wrote this set for Angela Brown as a thank you gift for performing in his opera Margaret Garner. They both thought it was important to present a work strictly relating to Black women due to the lack of positive portrayals in art and media. This set is so important and unique in that each of the songs comes from a Black woman’s perspective. Dr. Angelou was specifically committed to uplifting Black women in her life. Because of her poetry you see this uplifting of Black women, and Danielpour’s setting of the text really highlights that.
Do you have a favorite song in the cycle, or one you feel you most relate to?
My favorite is the second of the set: “Life Doesn’t Frighten Me.” It’s my favorite, but it’s so difficult for the pianist. I try to capture a young Josephine Baker-type feeling. It talks about all these things — “I’m not afraid of anything; I’m confident; I’m young; There’s nothing you can do to me.”
My other favorite is the very last piece “Many And More.” Specifically, this piece signifies a woman in old age who, although her life did not turn out the way she thought it would, manages to find joy and peace in knowing that there are many men who she’s deserving of but who are not deserving of her. In the fourth movement, she’s confident in her womanhood and sexuality, but feels like she doesn’t need to be bogged down—she can have many men. But by the final piece, she’s gone through love and she’s lost. In the end she found comfort in knowing that she doesn’t necessarily need a man and she can find peace in God. To me, it’s significant: how you can go through life, and your ideas and thoughts about what you want can change. It really signifies wisdom to me.
What was your relationship to the writing of Maya Angelou prior to this performance?
I have always read through her collected poems. I would literally just watch videos of her reciting her poems on YouTube. I’ve often watched her lectures too because she just imparts so much wisdom.
What does this song cycle have to say to our society today?
Just in the way our society is organized, the Black woman is at the bottom. This is a set that intentionally uplifts the Black woman and sheds a positive light on Black women in America. These are beautiful images of a Black woman who has lived, loved, learned, and lost. It is spiritually refreshing and culturally uplifting to Black women in America.
The theme of this festival is “You Will Be Found.” Was does that mean for you? How does this song cycle speak to that?
Although this piece represents Black women, I think the text is so vivid and colorful that everybody can find something in the set that they can relate to. It’s going to make the audience feel something and learn something.
“Do Not Cast Me Off in Time of Old Age”
By Stephen G. Adubato
“‘Do not cast me off in the time of old age; forsake me not when my strength is spent’ (Ps 71:9). This is the plea of the elderly, who fear being forgotten and rejected. Just as God asks us to be his means of hearing the cry of the poor, so too he wants us to hear the cry of the elderly” (Amoris Laetitia 191).
The COVID-19 pandemic has shed light on and exacerbated the effects of our indifference toward senior citizens, and, in the words of the Pope, have exposed “our vulnerability and uncovered those false and superfluous certainties around which we have constructed our daily schedules, our projects, our habits and priorities...it lays bare all our prepackaged ideas and forgetfulness of what nourishes our people’s souls; all those attempts that anesthetize us with ways of thinking and acting that supposedly ‘save’ us, but instead prove incapable of putting us in touch with our roots and keeping alive the memory of those who have gone before us.”
I myself must admit that I’ve fallen temptation to the cult of “superfluous certainties” and self-affirmation. Especially during my college years, I felt the need to do and acquire “glamorous” things in order to feel like I had value. This anxiety became increasingly sharp around the time I finished college. I was confronted with my waning youth and the dawn of my adulthood.
Around the same time, my grandparents were becoming increasingly sick. They needed me to spend more time taking care of them, and this competed directly with my aspirations of living it up on the weekends.
I remember one weekend I had to give up going to a birthday party so I could stay with them, and while they were napping I started reading the Pope’s latest encyclical, Amoris Laetitia. In it, Francis challenged the postmodern cult of youth and condemned the “throwaway culture” that discards the least productive and most vulnerable in our society, especially the poor, the unborn, and the elderly.
I was challenged by his words. The Pope was proposing that human life has value not just when it’s “useful” or glamorous, but just because it exists. He was also proposing that the fulfillment of our time is not the ideal of efficiency, pleasure, or personal gain, but charity, the gift of self to the point of sacrifice. This flew in the face of the cult of ephemeral pleasure that I had gotten trapped into. I decided to test out the Pope’s proposal through the time I was spending with my grandparents.
I soon started to discover that, although I often got impatient, the time I was spending with them brought out a tenderness and gentleness in me that I didn’t know myself to be capable of. And while it indeed required a sacrifice, I slowly started to find myself more fulfilled by spending my time making a gift of myself than by “living it up.” On top of that, I was learning from my grandparents’ wisdom about my family roots, my culture, and life in general.
Soon after, I decided it would be worthwhile to add more senior day cares to my school’s community service program, which I coordinate. I wanted more students to be able to interact with the elderly. I started searching on Google for centers in Newark, only to find out that many of them had negative reviews complaining of maltreatment and unprofessionalism.
Eventually, I found one center that had very few reviews and a website that hadn’t been updated in quite some time. I took the risk of reaching out, hesitantly, to the owner. She responded enthusiastically, claiming that my email was an answered prayer. She had been looking for opportunities to have young people volunteer with the seniors. After the first week of sending my students there, I was amazed by what I saw happened to them.
Thumbelina Newsome, the director, walks into the center and greets everyone with an overflowing gaze of joy (hence the center’s name. Joy Cometh in the Morning). She approaches each of the seniors, even the grumpiest and most handicapped, as if they were a gift sent to her from above. How does she see such beauty in people who our society tends to write off as useless burdens? Not only this, but she imparted this joy to my students, who initially thought they were going to be stuck working at a “boring community service site with old people.”
I invited Thumbelina to speak about the topic of elder care at an event last year along with Regina Kasun NP, the sister of a dear friend, who works for a geriatric house calls program in Virginia. I invited them to speak once again at this year’s Festival of Friendship, along with my former professor Dr. Charles Camosy, a moral theologian and bioethicist who has written about the Consistent Life Ethic (CLE) and the throwaway culture. During the COVID-19 pandemic, he has written extensively about the dire situations that many senior citizens are facing in nursing homes, challenging the throwaway mentality which allows them to be tossed to the margins of society.
Join us at 6 pm EST on Sunday, October 11th to hear them share their thoughts and experiences. The panel will be followed by a live Q+A session on Hopin.