Sing at the Portland Art Museum 11/21-22?

[Tamara Lynne]

Hello singers,

We have an exciting invitation to sing at the Portland Art Museum for the opening of their new wing! The dates are November 21 and 22, from 3:30-4:30, both days.

Would folks be available and interested? I said I'd get back to our contact, Jared Mees to let him know.

I shared with him our singing format and some details about how we sing-- and it sounds like they're able to set us up with chairs in a hollow square.

I think this would be really cool. Also, they are offering to pay POSH $1000 for each day (they are calling it a performance, though I've explained we don't exactly perform).

Let me know if you have thoughts or questions about this, if you think we should do it, and if you'd be able to make those days and times. 

thank you!

tamara

[Dorothy Robinson]

It sounds good to me! Although since the 21st is a Friday, we might have trouble getting enough people for that day.

dorothy

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[Mary Chaffin]

I LOVE this idea! Count me in! What a find! Thank you!

On Sep 23, 2025, at 5:13 PM, Dorothy Robinson <dorothy...@gmail.com> wrote:



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[David Zaworski]

Sounds great. I could do this. 

David Z

***

We are words on a journey

not the inscriptions of settled people

W.S.Merwin

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[Gin McCollum]

I should be available.

-Gin

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[Emma Swartz]

I could do it Friday but not Saturday. Sounds cool! I'm curious to know more about why they specifically want us there - did they hear about the new book on NPR or something? Or is it somehow related to some of the art?

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[Kate Fine]

if  I’m able to be out and about by then I should be able to do both.

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[Nell Whitman]

Sounds like fun! I could do both days. Are you sure they know who we are & what we do, and aren't expecting a polished vocal *performance *?

Typos? Blame the cats.

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From: portlands...@googlegroups.com <portlands...@googlegroups.com> on behalf of Tamara Lynne <taml...@gmail.com>
Sent: Tuesday, September 23, 2025 5:02:05 PM
To: Portland Sacred Harp <portlands...@googlegroups.com>
Subject: [PoSH] Sing at the Portland Art Museum 11/21-22?

 

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[Thomas Fahrbach]

First off, I'll admit I am not a big fan of "performing" what is a non-performance practice. Over the years, there have been 2-3 occasions where the benefit (good exposure/promoting SH) seemed worth the angst of actually performing.  The Portland Art Museum would certainly rank highly in regards to auspicious venues.  

The money is nice, (art is not free!) but shouldn't the deciding factor, of course. I don't know Jared Mees personally, but from what I've heard, his organization Tender Loving Empire are good people! Steeped in the indie-music scene in Portland for nigh unto 15 years (since moving here from Colorado)

Secondly, I am also available to sing ONLY on Friday Nov 21st. 

Should we choose to forge ahead, I feel that our efforts would greatly benefit from including additional singers from the PNW region.  At the Harry Smith Film event we had a small band of "ringers" who joined us from Olympic Peninsula, Seattle and Corvallis.  

I would be willing to head up recruitment efforts in pursuit of putting our best foot forward.  I wonder if there would be difficulty in getting folks down here by 3:30pm on Friday.  We should be willing to cover travel expenses for any folks that join us from out of state.
Before we fully commit to this venture, perhaps we could discuss amongst ourselves a bit more.  Is just singing 1 of the 2 days an option?  Are we open to adding regional singers? 
Are there others who share my discomfort with performing?

Thank you, Tamara for getting this ball rolling.  It is an interesting proposal and one that deserves our full attention!

Thom

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From: portlands...@googlegroups.com <portlands...@googlegroups.com> on behalf of Nell Whitman <nellw...@hotmail.com>
Sent: Tuesday, September 23, 2025 8:30 PM
To: Tamara Lynne <taml...@gmail.com>; Portland Sacred Harp <portlands...@googlegroups.com>
Subject: Re: [PoSH] Sing at the Portland Art Museum 11/21-22?

 

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[Carrie Walker]

Thanks for sharing this cool opportunity, Tamara! I agree with Thom that having outside ringers would help us sound extra good for the museum people. I think doing one day would also help it be our best, biggest sound. 

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[Betsy Jeronen]

The museum opening is a big event. Whether it works as a venue for sacred harp singing is a whole other question. But I guess we won’t know unless we try it. 

I know they are working hard to attract a younger crowd.

Having a larger singing group  and knowing we would be in a space where the sound will resonate would help.

On Sep 23, 2025, at 10:34 PM, Carrie Walker <carriew...@gmail.com> wrote:



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[Tamara Lynne]

Thanks everyone, for sharing your thoughts about this! Shall we discuss this in more depth internally, or should I get some additional information from the organizers before we make a decision?

My sense is that we have a lot of space for negotiation in this. I explained our tradition to him (as much as I could over an email) and this shifted the request (as originally they were asking musicians to "roam from room to room" which we basically don't do :). So he's since confirmed they can offer a big space on a landing, and will try to set it up as we like. I sent him both a diagram of our setup, and some youtubes of Sacred Harp that show the set-up and the sound.

There's a trend towards more participation and community engagement in the art world, so it makes sense to me that they would reach out. But it would be good to find out more about their intentions, and also to find out the purpose of this new museum wing.

Here are the concerns and considerations I'm hearing so far:

• we do not want to "perform". There's a suggestion from Ian Opal that we re-frame this as "sharing the Sacred Harp tradition"
• we should recruit additional singers to make sure our sound is strong, and put $ towards their travel and accommodations, if needed.
• two days might be a challenge for us, to have a big sound 
• we'd like to have a sense of the space we will be in (maybe visit or test it out, if possible)

Other thoughts or concerns?

How would folks like to proceed with this? I could follow up with the organizer for a longer conversation, or we could discuss internally at our next singing (or...?)

Thank you,

Tamara

[Kate Fine]

I wonder if they would allow for a small test singing just to check out the sound qualities of the space where we would be and how matters would be arranged?

On Tue, Sep 23, 2025 at 5:02 PM Tamara Lynne <taml...@gmail.com> wrote:

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[Jennifer Jones]

Hi,

I think it sounds very interesting and think it's a good idea only if there are not chairs set up for an audience like a traditional performance. From Tamara's feedback that they initially wanted roving musicians it sounds like they're looking for just a lot of buzzy activity, which sounds fun.

I love Ian Opal's rephrasing of sharing the tradition.

I'm in.

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[Emma Swartz]

Hi everyone,

Sorry for the long essay - I hear what everyone's been saying and wanted to add a few thoughts! Especially as I'll be out of town this weekend if this ends up as a discussion at the Kennedy School singing on Sunday :)

Having spent my life doing several types of non-perfomative traditional music, I understand the hesitation to just accept any invitation, but I don't see a problem here. As long as we're clear with the organization and amongst ourselves about what we do, and we aren't changing it to make it more palatable to an audience, I feel that we aren't doing anything wrong. If people are interested in our singing and want to hear it & have the chance to learn about it, that's good for our tradition! To me this is a much more straightforward case of "doing what we usually do but in a different setting" than the Harry Smith thing, for example.

In the spirit of not changing what we do for an audience, if we have a keyer and a few people to sing each part both days I think we should do both and not worry too much about whether we sound professional and impressive enough - looks like we need some basses first though, and someone who could key on Saturday!

Inviting friends from outside Portland would be fun and I would love to see more people and sing with them. Having strong singers on all the parts would be good and we should aim for that, but honestly paying the "best" singers' expenses to come sing with us sets off more of my alarm bells for twisting things in a hierarchical performative way than the original proposition did... I can see the logic and accept it if it's what the group wants to do, but I'd feel more comfortable inviting a wide range of people and offering reimbursement of gas $ based on people's financial need rather than how good we think they are at singing.

Tamara, if you are sending follow up emails, I'd love to know how they heard about us and why they wanted to invite us vs. another type of musical group.

Thanks for reading my long winded opinion and looking forward to being a part of whatever the group decides to do!

Emma

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[Sarah Berry]

I can sing both days if that helps at all. Personally I don't mind the "performance" aspect but it would be great if we knew we'd have singers for each part, just so it's fairly representative of the full sound.

xo S

On Tue, Sep 23, 2025 at 11:22 PM Betsy Jeronen <jerone...@gmail.com> wrote:

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[Kate Fine]

Hello friends, here I am chiming in again when there’s only a 50-50 chance that I’ll be able to actually do this!

But I want to say that Emma has in my opinion made some really excellent points.

I also was thinking about it more in a way of doing what we usually do in a different setting. And we could make up a few song packets or bring loaners and invite people to join on the spur of the moment if they feel like it for a song or two.

And if being paid for this makes us too uncomfortable we could always donate it back to the museum. 

[SCOTT KENNEDY]

Hello,

 

I am not sure about the idea of reimbursing out of town singers who choose to attend the singing at the art museum. It could establish a precedent that I do not think we want. Singers travel for the love of singing. While I have no objection to the practice of helping people from far away attend conventions, giving money to singers who might be coming from from Puget Sound does not seem necessary to me.

 

Scott Kennedy

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[John S. Berendzen]

Good job, Tamara. This seems like a once-a-decade opportunity. I support Thom’s note that regional singers could be involved to fill out our numbers, all the more fun. And the $ could be used for that travel? I’m available both days.

Re the reluctance to perform, i grok that on a personal level (some folks may just not enjoy the scrutiny) but on the moral/philosophical level, I can’t understand the common opposition to it. I have seen video of Hugh McGraw and others performing on a stage with microphones face-forward for a seated festival audience in the 70s and 80s, and I believe we would not be enjoying our singings today if not for those demo performances. Esp if we are able to sit in a hollow square, for me that resolves every objection to potentially offending the form. We sing in all kinds of weird spaces. I have witnessed people singing this music drunk and high at picnic tables in a dive bar, and I didn’t hear any comments then about that being an offense to the tradition. All seeds that can be planted should be planted. 

My Best

John 

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Sent from my limbic system

[Gin McCollum]

     There are multiple ways to object to performing, including 1) feeling strange about getting up in front of people, claiming that your music will be polished and 2) not wanting to distort the spontaneous way we usually sing.  I'm not worried about (1) but about (2).  Emma has covered this well.  Having more singers is good, but paying to get a better sound is not.   

      It doesn't matter whether the Art Museum considers our music a performance.  It does matter if we distort our singing.  I don't see that we need to, in order to sing at the museum.

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[Dan Thoma]

This sounds like fun, and I think Julie and I can come. I totally agree with what Gin and Emma and John have written--especially Gin's " It doesn't matter whether the Art Museum considers our music a performance.  It does matter if we distort our singing.  I don't see that we need to, in order to sing at the museum."

Many years ago we "performed" with the Portland Baroque Orchestra and went through a similar process of talking though the issues with "performance." As I recall, there was space for a limited number of singers and that caused some hard feelings. Otherwise, I think it was a worthwhile event. I'm a fan of thinking of it as "demonstration singing" and considering it a good way to help ensure the tradition survives each of our little time on this planet.

Cheers,
Dan

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[mary.d....@gmail.com]

I am very hopeful that I’ll make it to both days. It sounds very fun and worthwhile for both us and the Museum. I’d like to know how the museum thinks sacred harp music fits into their new wing/exhibits, but even if it doesn’t, it would still be fun. I would take the money. We can use it to buy the books or for our other usual expenses. I would do 2 days, if we have keyers and enough basses. It’s only 2 hours total. I would like to have admission to the museum before or after or at some other mutually agreeable time.

 

Thanks so much for letting us know about this wonderful opportunity to expand knowledge of our unique tradition, Tamara!!

Mary

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[Carrie Walker]

I think bringing in our friends from Seattle etc. would be fun and would help us put our best foot forward! It's a long trip so I think a little monetary compensation is a nice gesture. I can do both days but would prefer to just do Friday.

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[Betsy Jeronen]

I think the money we receive should just go into the general PoSH fund, minus any costs of out-of- towners

expenses to come and join us. Certainly not divvied up between individual singers!

Betsy

On Sep 24, 2025, at 1:12 PM, Gin McCollum <gin.mc...@gmail.com> wrote:



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[Tamara Lynne]

This is great discussion--thanks everyone for your thoughts. 

Of course we can keep chiming in on this thread, but let's plan to have a 10 minute business meeting at the end of our singing this Sunday at Kennedy School, and make a decision as a group about moving forward.

From the comments here, I feel confident that we can find a way to move forward that addresses most--if not all-- of these concerns mentioned.

I appreciate how much we all care about the integrity of this tradition, how we present it to the wider public, and that we make sure to hold our extended regional relationships (as well as our own) with care & fairness.

 Look forward to discussing on Sunday!

tamara

Sent from my iPhone

On Sep 25, 2025, at 12:27 PM, Betsy Jeronen <jerone...@gmail.com> wrote:



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[SCOTT KENNEDY]

I agree that any money should go in to general fund. I still feel that giving money to out of town participants is not what Sacred Harp is about.

 

Scott

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[Tamara Lynne]

For those who asked, here's a response from Amber Howard, the new head of Public Programs at the museum about why they are inviting us, and their vision for the event:

Hi Tamara,

Thank you so much for your thoughtful message, and for beginning the conversation with your fellow singers. I wanted to take a moment to introduce myself—my name is Amber Edwards, and I’m the new Head of Public Programs at the Portland Art Museum. I’m overseeing our Free Community Days this winter to celebrate the museum’s reopening, and I’d be honored to include the Sacred Harp singers as part of this milestone.

We are intentionally curating a wide range of musical traditions to reflect the global scope of the museum’s collection—from the Americas to Europe, Africa to Asia—emphasizing community and continuity across time and place. Sacred Harp’s unique shape-note tradition is a beautiful fit within that vision, and we’d love to host you in a way that honors your customary practice. Our campaign is Everybody is an Art person! (check out our video here https://www.youtube.com/watch?v=luvEUwVw5mg )

To that end, we’re envisioning this as a Sacred Harp singing—not a performance—with no stage, no seated audience. Just your community, singing together in the traditional square formation, surrounded by American and European artworks. We’d situate you directly in the gallery space, allowing visitors to encounter the singing as they move through the museum.

The building is still under construction, so we may not be able to accommodate a full rehearsal due to installation schedules. However, I’d be happy to arrange a walkthrough beforehand so you can get a sense of the space and acoustics.

We’d also love to set up a Zoom conversation with you and Jared from TLE to talk through logistics and answer any additional questions. Would you be available sometime tomorrow or next week? We’re flexible and happy to work around your schedule.

Thanks again for your interest, and for being open to sharing this musical tradition in this special way. I look forward to speaking with you soon.

Warmly,

Amber Edwards
Head of Public Engagement and Programs

Portland Art Museum

amber....@pam.org 

On Sep 25, 2025, at 12:48 PM, Tamara Lynne <taml...@gmail.com> wrote:

This is great discussion--thanks everyone for your thoughts. 

[Dan Thoma]

Sounds like they get it! 🙂

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[Jennifer Jones]

Thanks for forwarding that Tamara!

This sounds like a great opportunity to be our weird selves in an interesting way. I'm sure we would do it for free but, the fact of them giving us $$ is incredible and if we can swing both days would really take some financial pressure off the convention and/or allow us to expand our travel fund and certainly pay for our new loaners.

I wonder if they know how loud we are? It sounds like they have an idea and want us anyway.

I sincerely hope this works out.

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[Carolyn Cannon]

Hello Sacred Harp, 

  What time at Kennedy school this Sunday? From when - to when?

 Is us every Sunday? 

 (I Can possibly come this Sunday, but future ones could work .)

I am new to you, and love to sing. I am currently in a choir, and have been involved with music my entire life. 67 singing years.

     Thank you, 

          Carolyn 

THANK YOU,

CAROLYN

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[Thomas Fahrbach]

Hi Carolyn,
We will be singing at Kennedy School this Sunday 4p-6p in the Community Room.  *Southeast corner of the complex.
We'd love to have you join. 

We sing every Sunday at 4pm—-the sites and tunebooks vary. We have books for sale and loaners available.

Here's a link where you can find more info. https://portlandsacredharp.org/

Hope to see you soon!

Thom

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From: portlands...@googlegroups.com <portlands...@googlegroups.com> on behalf of Carolyn Cannon <cccla...@gmail.com>
Sent: Friday, September 26, 2025 7:04 AM
To: Jennifer Jones <jenn...@not23.com>
Cc: Dan Thoma <dst...@comcast.net>; Portland Sacred Harp <portlands...@googlegroups.com>
Subject: Re: [PoSH] Sing at the Portland Art Museum 11/21-22?

 

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[A. Gabriel Kastelle]

Greetings, PDX Singing Friends --  

I'd like to second many comments here to the effect of "Thank You" for fine discussion bringing in many good concerns. 

Mostly, I'd like to share one planning detail recommendation via personal experience anecdote. 

That is: the skew-to-the-walls expanded hollow square surprise seating arrangement. 

For my Master's in Music graduation recital at Wesleyan U. (Middletown, CT) in 2014, I opted to create and release and sing through a shape note tunebook of my own composition (Gabriel's Kairos For All . . . a tunebook of modal integrity for singers of the hollow square). 

So-called "audience" who appeared for the event were seated into an expanded ginormous hollow square, intermixed with people more familiar with the singing tradition. 

There was no other audience seating alternative. 

I'll admit that I had a couple singers on critical parts paid and provided in advance with the music, 

but mostly it was a surprise free-for-all with everyone singing and no distinct "audience" seating-- rather, only an expanded hollow square in the room, mixing singers and "listeners" / "friendly experiencers" together. 

Part of what made it work out so well, I believe, and what I would like to recommend to planners for this event, should it move forward, is that the sides of the hollow square were skew to the walls of the room: off by maybe about 28 or 30 degrees!! 

People entering the space were a bit disoriented by the oddness of it all, and thus subtly yet strongly encouraged into wandering and settling into the sound where it seemed right to them. 

I think that skew physical arrangement of the seating was really important and helpful in breaking up expectations of a more formal performer-listener distinction and experience. 

Also, I had a faux-"registration" table at entry door where EVERYone was handed (!surprise!) the tunebook of the day, as well as shown a diagram map of the voice parts and their skew arrangement in the room, along with most minimal description of each part, encouraging people to self-assign to a possibly appropriate place for maybe opening their mouths and adding sound--but no pressure, no compulsion, no worries--but, you have to sit somewhere, and there is no "audience" seating, only the hollow square :-) . . . . 

. . . so people wandered, usually about right, sometimes with later moves, everyone could follow along, and a fine time was had by all. 

Adding to the almost guerrilla / surprise character of the event, I also engineered via some local connections and my own and others' efforts (thanks again!!), unannounced, to have a "dinner-on-the-grounds" in the intermission, 

another surprise, 

and it all helped the casual, friendly, successful, serendipitous flow of the event...  

...pulled pork might be a little too much to ask of an art museum, 

but if a SKEW-to-the-walls, expanded hollow square is provided with no other alternative for "audience" seating, I believe that that by itself would be a great move! 

Cheers! 

LA ! 

-- A. Gabriel Kastelle -- 

Eugene +/- 

cell: 215-287-2851 

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[Tamara Lynne]

Hi everyone,

After singing yesterday, we held a short business meeting and made the decision that we will sing during the opening of the new wing of the Portland Art Museum on 11/21 and 11/22,  with the assumption that we'll have all parts covered and a keyer for each day.

Some additional points we agreed to:

• We'll invite singers from the region by posting to social media (caveat-- we may need to cap singer attendance-- TBD)
• We'll require RSVP's so we know who will be participating
• We'll reimburse gas and train expenses for travelling singers (not airfare) out of the funds paid by PAM
• JJ will host a social  ✨
• We'll try to house visiting singers in our houses (not yet coordinated)

We'll work out the details in upcoming weeks, and I'm happy to send out a singer sign-up sheet so we can track who will be able to participate in this.

Thanks everyone!

Tamara