Thursday, May 1, 2008

SPRING IS HERE & IT'S TIME TO SHEAR, SPIN AND KNIT RABBIT FUR IN HARLEM WITH, THE ONE AND ONLY, FIBER ARTIST TWAIN REVELL










Fiber Artist Twain Revell is the only African American Fiber Artist that I know of that works with her fiber from start to finish.

I mean... Twain... “The Rabbit Lady”... (as the children Uptown refer to her)... is the only African American Fiber Artist that I know, that is raising her own live stock in her apartment in Harlem… Then, she combs and collects their fur, spins it, on one of her many spinning wheels or on a hand held drop spindle, knits and/or crochets it.

In the photo’s above you can see Twain with one of her rabbit, collecting fur to spin on her spinning wheel, The sweater that she is wearing in the photo, is made from fur that she spun from one of her rabbits.

She designed and knitted this sweater and the baby booties that she is holding in the last image.

Twain is a real talker, and she is very well informed about her fibers and the art of spinning. Like I said before, I don’t know anyone that does what Twain Revell does.

You can read more about Twain Revell is a wonderful article written by The Founder & Executive Director of Harlem Needle Arts Inc. Michelle Bishop in SPIN-OFF MAGAZINE, The summer issue 2007, pages 34-36 www.spinoffmagazine.com

Check out more of Twain Revell's Fiber Works on her website: http://www.twainstwines.com/

Tuesday, April 15, 2008

ADORABLE ONLINE PET PORTRAIT AUCTION, BY STUDENTS & FACULTY @ FAIRLEIGH DICKINSON UNIVERSITY GALLERY: BID'S START AT $20


















My Brilliant, hard working, artist friend Meredith McNeal is the Director of Rush Philanthropic Arts Foundation Education Programs, The Director of Rush East, N, and a practicing Fine Artist.

http://rushphilanthropic.org/Content/Main.aspx?pageId=1

Meredith has developed many creatively exciting education programs and workshops serving thousands of New York City children and adults each year.

One of the Saturday sessions that she created for the children in the neighborhood in Brooklyn which I think was so-right-on-the-mark, is a class that she designed called, The Pet Portrait Painting/Drawing class.

I remember seeing the children’s brilliant work, and I thought how great that project was, to teach how to visually articulate the emotion of the affection for the pet, and to turn that creative exercise into a work of art. REAL SMART MOVE MEREDITH!!!, (I wish I thought of that.)

Meredith has extended The Pet Portrait experience, by working with a drawing class at Fairleigh Dickinson University as a visiting artist, She stated, “During my recent exhibition "Dress Up" at FDU. I had the pleasure of working with Professor Marie Roberts' Drawing class as a invited artist on a pet painting class.”

The paintings created from that class are so full of character, charm and presence and they are now on view at FDU Gallery and are available for purchase through an online benefit auction.

Go to the link
http://ucoll.fdu.edu/arts/auction/index.php

To view more Pet Portraits to chose from.
I encourage you to place a bid at:

“Pet Portraits,” works by FDU students/faculty, proceeds to benefit Jersey Animal Coalition, Inc., South Orange, N.J.; $20 starting bid. To view portraits and submit bids go to

http://ucoll.fdu.edu/arts/auction/index.php

or go to the University College Art Gallery, Room 11, University Hall, Mon.–Fri., 9:30 a.m.–4:30 p.m., or to Silent Auction, for information call 201-692-2801, 201-456-0660 or e-mail lima@fdu.edu.

I’m not sure about the size of each painting, but I’m sure if you got in contact with the school they could give you the information you need.

Monday, April 14, 2008

PANGEA DAY 5/10/08: VERY INSPIRING PROJECT, "FOR THE WORLD BY THE WORLD,"


Last week I was working on the PR package for the exhibit (RE) POSSESSED at the Jersey City Museum, the exhibits website, and some other administrative work for my art, ( I have not crochet art work for weeks ), I have to redesign a few items in the exhibit, I had a few ideas for additions from reading some inspirational magazines over the past few days.

Last Saturday I got my bike out and took it to the bike shop to get air in the tires, I am not used to having a bike, so when I saw that my tires on the bike were flat from lose of air over the winter, I thought I had a flat, but the guys at the bike shop informed me that air should be put in the tires about every three weeks or when ever air is needed.

I took a real slow ride around Central Park, I was supprised that there were not that many bikers or runners in the park, it was a very beautiful day, all of the trees were in full bloom, the magnolia trees were at their peak of glory.

I came back inside and started working on a Obama project. I will share it very soon.
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A INTERESTING GLOBAL PROJECT: Take a look at these films from a very special project called www.pangeaday.org. They are each just one minute long. They feature a choir in one country singing another country's national anthem: a simple idea that packs surprising emotional power.

http://www.youtube.com/watch?v=4TGAYa21ciQ&feature=user

http://www.youtube.com/watch?v=JxhRukX-vAw&NR=1

http://www.youtube.com/watch?v=3T60NaNPiMg&feature=user

http://www.youtube.com/watch?v=uAWarHi0OgE&feature=user

http://www.youtube.com/watch?v=BBStEQvgcyM&feature=user

http://www.youtube.com/watch?v=-NRCt9NQqEE&feature=user

The link below is Jehane Noujaim Unveils Pangea Day

http://www.youtube.com/watch?v=1CMQLwhwySs&NR=1

“They were shot by film directors looking to support the landmark TED project Pangea Day (which I hope you have calendared for Saturday, May 10).

The event is looking amazing, and I will be writing with some breaking news later in the week. Meanwhile, check out the trailer. And do feel free to forward this note.”

- Chris Anderson, TED Curator

http://pangeaday.org/

P.S. “There are more of these anthems on the way.”

I just got this information from TED. TED is a very inspiring & amazingly creative organization I have been following for about a year.

TED stands for Technology, Entertainment, Design. It started out (in 1984) as a conference bringing together people from those three worlds. Since then its scope has become ever broader.

The annual conference now brings together the world's most fascinating thinkers and doers, who are challenged to give the talk of their lives (in 18 minutes).

TED’s mission: Spreading ideas.

TED believes passionately in the power of ideas to change attitudes, lives and ultimately, the world. So they are building a clearinghouse that offers free knowledge and inspiration from the world's most inspired thinkers, and also a community of curious souls to engage with ideas and each other. The TED site, launched April 2007, is an ever-evolving work in progress, and you're an important part of it. Have an idea? They want to hear from you.

You can go to www.ted.com, and get more detail about this organization.

Saturday, April 5, 2008

OK WORLD, TODAY IS MY BIRTHDAY, HAPPY BIRTHDAY TO ME!!!!






Today is my birthday, I have plans to go to the Brooklyn Museum to opening of the Takashi Murakami Exhbit.

Brooklyn Museum First Saturday Web Link
http://www.brooklynmuseum.org/visit/first_saturdays.php

http://www.nytimes.com/2008/04/04/arts/design/04mura.html?em&ex=1207540800&en=2399191ef5c14cbd&ei=5087%0A

The Brooklyn Museum will be open until 11:00pm, with activities, films, workshop and people mixing all day. I am going to act like I am having my birthday party at the Brooklyn Museum and everybody that comes to the museum, is coming to my Birthday Party.

I wish I could go see Cat on A Hot Tin Roof, on Broadway. That's one of my favorite plays by Tennessee Williams. But, that's not in the stars for my today.

http://www.nytimes.com/2008/03/20/theater/20cat.html

Wednesday, April 2, 2008

MY MENTOR, THE AMAZING TRAIL BLAZER, THE ONE & ONLY: ARTIST FAITH RINGGOLD
















I went over to the Jersey City Museum today, with Fine Art Dealer Noel of New York, to see my exhibit (RE) POSSESSED, she really liked it, and she was all over the place taking photos. She was even taking photos inside the tent, (which I never thought of doing until after I saw the photos that she took.) She bought some of the products from the exhibit that were on sell in the gift shop, Noel is a true patron of the ARTS.

After Noel and I left the museum, I had an appointment to visit Eto Otitigbe, who is a artist and a engineer and owns a gallery called Esoro Gallery, this is a really wonderful new gallery, that is up the street and around the corner from the Jersey City Museum, a very easy distance, (even though I got lost, but Eto came out looking for me, as my journey to his gallery turned into a real estate tour of Jersey City.) We had a wonderful meeting, Eto offered me a glass of orange juice, and then he manually squeezed me a glass of fresh orange juice (I was totally impressed). I met Eto’s sister who is the gallery director and I met the artist that is going to be opening in the gallery tomorrow night with his art work. I can’t wait to see the finished exhibit, it looked very fun and interesting.
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The summer I graduated from college, 1977, was when I first introduced myself to The Fearless, Amazing Fine Artist Faith Ringgold. I had just graduated from Pratt Institute in Brooklyn New York, and I had no idea of what my next step was going to be, as far as starting my career in New York as an artist.

As I was wondering around the abandoned campus after the end of the school year. I went down to the empty school cafeteria to look on the bulletin board searching for a posting of some kind of opportunity that was waiting for me.

I saw this flyer that read the Artist Faith Ringgold and another artist, (I since forgot the name of the other artist,) were planning a group exhibit and they were putting a call out to artist to apply.

Faith and the other artist had their phone numbers on the flyer, so I called Faith Ringgold, because I was more familiar with her work from an exhibit and a performance piece that she did at Studio Museum in Harlem that I had seen. I really was not prepared to be a part of a group exhibit, because I only had design work that I created from my senior thesis. I was calling her because I needed to speak to a working artist because I was at a blank about my next step to my future as an artist.

When I called her up, and I just started running off at the mouth, about how I just graduated from college, and I had no idea of what to do, or were to go next for the rest of my life. I also told her, that I had just used my last dime to call her and the operator just told me to add some more money if I wanted to use the telephone any longer. Faith told me to give her the telephone number in the phone booth and that she would call me right back. She did just that, and Faith and I stayed on the phone for over an hour talking, as I calmed down and was starting to get a clear idea of how to pull my life together.

She invited me over to her house in Harlem to share her art work with me and talk some more about the life of a ARTIST, That’s were I witnessed the ambitious drive, genius and the power of the Great Story Teller, Fine Artist, Faith Ringgold and she has been my role model, inspiration and mentor every since.

Tuesday, April 1, 2008

LOOKING FOR MYSTICAL CHILDREN'S BOOKS @ EAST WEST BOOK STORE NYC & IBIZA KIDZ STORE WITH A HEART, & THE GREATEST SOAP IN THE WORLD








Today in the salt mines, I had to go to the Post Office to mail off some things, went down to China Town for groceries, I got some really nice string beans 2 lbs for $1.25, tilapia fish was $3.20, I got a little over 2 lbs. I road the bus back to Harlem, I got four cans of solid white tuna for $4.00 (I need to go back and get more before the week is out). I got some mushrooms to steam my string beans with.

I got right back on the computer to work on website & press pack for the (RE) POSSESSED traveling exhibit at Jersey City Museum.
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Last night I was looking for mystical children’s books at East West Book Store Downtown Manhattan. I found one very special book that I really liked; it was titled STORIES FROM THE SILK ROAD. RETOLD BY CHERRY GILCHRIST and BEAUTIFULLY ILLUSTRATED BY NILESH MISTRY, BY BAREFOOT PAPER BACK PUBLICATIONS.

I loved how the stories were mixed with fantasy, folklore and history and technical detail about the DEVELOPMENT OF THE SILK INDUSTRY. The book stimulates interest in wanting to learn more about the ancient production of silk.

I love the East West bookstore because of all of the crystal, incense, chimes, healing bath salts, and,… let me tell you about the most amazing soap in the world. First I have to say, I have no connection to this product except I think it is worth it's weight in gold and I want to promote it so this company stay’s in business.

I’ll start by saying, I have very sensitive skin, I am really very allergic to just about every soap product in and off the market, so I really have to read ingredients and experiment a lot with soaps, that I think would be good for my skin. Last year, I found this Rock Soap, by tspink soap, you can go to the website and read about the soap.

www.tspink.com

The rock soap is kind of pricy, but for what it does for my skin, my since of well-being and with the added bonus of luxury, I am working it into my budget.

This rock soap not only looks pretty when you buy it, but all the while you are washing with it, it stays pretty as it reduces in size.

This rock soap has all pure natural ingredients that really cleans the skin without drying it out, it smells beautifully, but the oil don’t irritate my skin. It is a truly luxury soap, it makes my skin feel sooooo soft. I am writing about this soap so others will buy it, enjoy it, and spread the word. So the company will stay strong.

Using this soap is like going to a spa every time you use it, that's how I justify using this product, with the cost and all…. Plus, I figure, I am getting more mature and my skin needs that very special care to maintain a healthy texture. This soap alone is a reason to start a Co-Op in your community, if you belong to a Co-op, see if you can get this soap stocked on your shelves if you don’t already had it.

Oh, Yeah, they have the rock soap at
IBIZA KIDZ in
New York City at 61 4th Ave (btwn E. 9th & 10 Sts.).
New York City 10003
212 228-7990 & 212 375-9984

http://www.ibizakidz.com/

The Photo at the top of this post is the owner of IBIZA KIDZ, and two of her three Sugar Plum Children. I had to photograph her son prancing around the store in the fairy wings and the ballet tutu like his sister. I know years from now, he'll just love to see this.

Peace Ya'll

Xenobia Bailey Harlem USA

Saturday, March 29, 2008

MASTER DANCE CLASS AT THE UNIVERSITY OF WASHINGTON WITH PRIMA DONNA RUTHANNA BORIS 1918-2007




Ms Ruthanna Boris was Ruby Taylor (My friend with the broken leg) and my ballet teacher when we were student at the University of Washington.

This, I can honestly say is the only MASTER CLASS I had in my whole life. She was a powerful, dynamic artist & teacher. I have never met any other artist that had the full hearted passion for her craft as Ms Boris had.

She gave us, (her student), all that she could give. I am still reaching to live up to her standards. She truly left her amazing mark on me... She was small, but she was mighty....

She could be like cracking thunder when she stood front and center and commanded our class. With 50 some odd student in the class, she saw everything that each and every student was doing, and she would not hesitate to call you out. She know how to get the results she desired from her student, no matter how you came to class feeling.

To me... SHE WAS A MASTER OF HER CRAFT.
___________________________________________________
BALLET WITH MISS BORIS: SHE KEPT YOU ON YOUR TOES.

By Sheila Farr
Seattle Times Art Critic

When Ruthanna Boris began teaching ballet at the University of Washington in 1965, there was no dance department, no dance studio and no musical accompanist. Those of us who attended her classes on the drafty upper floor of the old Armory building in the early '70s had to compete with the sporadic banging from the ROTC rifle range downstairs. The sound of target practice didn't faze Miss Boris, who simply shouted over the noise and whacked out the beat more insistently on her drum.

Occasionally, when things got really bad, she would strike back. Rather than demand the usual soft, quiet landings for our entrechats and jumps, Miss Boris — with glee in her eye — authorized revenge on the military. "Land hard," she would say. "Let them have it." And 50 strong young bodies would leap and leap with the resilience of pogo sticks, pounding our feet on the wooden floor until the rickety old building thundered and a stunned silence echoed in the room below. Miss Boris was 88 when she died last month at her home in El Cerrito, Calif., and decades had passed since I last saw her. I imagine her feisty to the end.

A LIFE AND LEGACY OF DANCE

A glowing obituary in The New York times touted Miss Boris' career as a dancer and choreographer. She was one of the great choreographer George Balanchine's first students in this country and performed in the 1935 debut season of his American Ballet. She went on to dance in Lincoln Kirstein's Ballet Caravan in 1936-37 and the Metropolitan Opera Ballet in 1937-42, before joining the Ballet Russe de Monte Carlo, where she was frequently partnered by the renowned Leon Danielian. She choreographed for the Ballet Russe and the New York City Ballet, and her popular ballet "Cakewalk" of 1951 was later restaged by the Joffrey Ballet.

The 18 years Miss Boris spent teaching at the University of Washington were a small blip on her résumé, but for Seattle, her presence was earthshaking. The local dance scene burgeoned during her reign. Hannah Wiley trained with Miss Boris during that period and went on to chair UW's dance department and to found Chamber Dance Company.

An advanced dancer when she came to the university, Wiley remembers being stunned and embarrassed when Miss Boris required her to go back and take 100-level classes. "In my early years, I had been skilled and had moved up probably faster than I was absorbing material. As painful as it was when she forced me to go back to basics, ultimately it was good for me," Wiley recalls. "It actually helped teach me how to teach dance."

Miss Boris made lasting contributions to the way dance is taught in universities, Wiley said. "She was teaching dance in the academy when [administrators] were not sure where it was supposed to be. Ballet was in the drama department, and modern dance was in physical education." Miss Boris helped elevate dance to the status of other studies, "and that was extremely important not only here but across the country," Wiley said.

Those were contentious times in the university's budding dance program, and Miss Boris' strong personality didn't sit well with everybody. She was a demanding teacher and an assertive administrator, and her views were at times publicly at odds with others on the dance faculty. But her forcefulness served the dance program well during the planning of Meany Hall, when Miss Boris took charge and made sure that dancers finally got a functional place to study — three magnificent dance studios with changing rooms, showers and lockers. "That was huge for dance at the university," Wiley said. "Huge and ongoing."

AN AWESOME PRESENCE

I was 18 when I first stepped into a class with Miss Boris. I had been taking dance lessons of one sort or another since I was 5, but none of it prepared me for her. Miss Boris was a force of nature. Small in stature, with a trim hourglass figure and an utter command of her audience, she walked slowly, each step requiring a slight swing of her body and the placement of a metal crutch. Degenerative arthritis had ended her dancing career in the 1950s, and she endured metal hip replacements, a primitive measure at that time. No doubt she was often in pain but, veteran dancer that she was, she never let on.

Many of the students who signed up for her classes had no serious career intentions. Some were drama students looking to enhance their stage skills; others may have had romantic notions about gracefully wafting about en pointe or, better yet, not having any homework. Some of us just loved to dance. Miss Boris didn't seem to care what brought us there, as long as we were prepared to work. Our daily classes were deep and comprehensive. We didn't start at the barre but with a measured series of stretches that opened the spine and focused the mind, a moving meditation. I loved the discipline of her class. There was no standing around chatting, no wasted time. We worked silently, with damp, flushed faces and quivering muscles.

Miss Boris kept high standards, for herself and others. When the university began to provide piano accompanists, she had no patience for those who couldn't keep up with her. She expected the music to be right — and right now. And she pushed her dancers, some a little too hard. Occasionally, a student would leave in tears. At the barre, you could hear the click of Miss Boris' crutches coming up the row behind you, always daunting, as she quietly corrected the placement of an arm, an arabesque. On those rare instances when Miss Boris paused in her rounds to nod and whisper "good," you felt blessed.

I began to appreciate what drove her one day in April 1971, when Miss Boris stood solemnly in front of class and waited for silence. With her usual dramatic flair, she made an announcement: The great maestro Igor Stravinsky had died.

The significance of that took a moment to sink in. But for the next few minutes Miss Boris held us spellbound as she talked about her days as a young dancer, rehearsing with Stravinsky at the piano and Balanchine working through his choreography. Rehearsing with Igor Stravinsky and George Balanchine? As far as I was concerned, our teacher had lived in the company of gods. It was awe-inspiring.

Speaking of higher powers. In dire situations, Miss Boris would lift her eyes heavenward and invoke the Almighty. When she used the word "God," it was always immediately followed by a knowing look and the pronoun "She." That delighted us. At other times, Miss Boris called for the assistance of Terpsichore, the muse of dance, who no doubt shook her head and shrugged in disbelief as she looked down at a motley bunch of undergraduates pounding away above a rifle range.

Many of Miss Boris' students attended in August 1971 when the Joffrey Ballet performed her "Cakewalk" at the Opera House. It was a hit. And after the dancers had taken their bows, the audience leapt to their feet cheering as a small woman — I picture her in a white dress — slowly entered from the wings. Miss Boris stepped lightly and deliberately, a radiant smile on her face. Her arms were gracefully spread, and some of the audience knew why: to hold her precarious balance. Miss Boris refused to walk on stage with crutches.

http://seattletimes.nwsource.com/html/entertainment/2003564845_ruthanna11.html

Friday, March 28, 2008

THE BLACK SWAN, RITUAL MEDICINE DANCE, FOR RUBY TAYLOR, DESIGNED TO HEAL A FORMER BALLET DANCERS BROKEN LEG.


As my home girl Ruby Taylor continues to heal from her broken leg, I'm going to do a little DIGITAL MEDICINE SHOW to help heal a Sistah... to make her rise from that bed of affliction and DANCE!!!!.
______________________________
Here is another note worthy ART THERAPY article I found on the development of the healing arts. sorry for the length of the article, but there really is some good info here.
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THE FINE ART OF HEALING THE SICK

By Christine Larson

One day in March, Judy Nguyen's beeper went off at Tallahassee Memorial HealthCare. A 2-year-old needed an echocardiogram, an ultrasound image of the heart. Nguyen rushed to the waiting room, where she met the patient and his family. Then she showed the toddler the tools she'd be using throughout the procedure: a guitar, a puppet, and a drum.

As one of two medical music therapists at the Florida hospital, Nguyen provides 350 to 400 music therapy sessions a month to patients. On this particular day, she sang songs like "Old MacDonald Had a Farm" as she waited with the boy and used a puppet to show him where the transducer and heart monitor would go. "I told him how he'd have to take off his shirt and show us his muscles, and about the ooey-gooey jelly we'd put on him," says Nguyen. While the technician ran the test, Nguyen strummed her guitar and the youngster played along with the drum. The result: no wiggling and squirming, but a calm patient who helped make the procedure go more smoothly.

Nguyen is part of a growing trend to incorporate music, writing, and visual art into the clinical treatment of patients. While the use of the arts in healing can be traced back centuries through religious practices, a growing body of evidence now shows that the arts do far more than simply soothe the savage breast. New clinical research is quantifying the health benefits of the arts, from pain relief to faster recoveries. The Joint Commission on Accreditation of Healthcare Organizations did its first survey of arts in 2004 and found that about 2,000 hospitals around the country offer some kind of arts programming. It's not just in the therapy realm. Medical schools now offer courses in the arts, literature, and humanities, and hospitals are adding healing gardens and art galleries and allowing patients to select artwork to decorate the walls of their sterile rooms. "There's very good evidence that engaging patients in art and music is a way to make the burden of illness and periods of care more tolerable," says Harry Jacobson, a nephrologist and vice chancellor for health affairs at Nashville's Vanderbilt University Medical Center, which brings artists to patients' bedsides.

The trend has spawned new undertakings like the Louis Armstrong Center for Music and Medicine, which opened in November. Part of Beth Israel Medical Center in New York City, it provides medical music therapy and researches its effects on children with asthma and adults with cardiac and pulmonary problems, as well as treating medical problems specific to musicians. In the October issue of the Journal of PeriAnesthesia Nursing, Joanne Loewy, director of the center, reported that singing lullabies slowly and softly, timed to breathing rate, was more effective than a sedative in getting infants and toddlers to sleep before an EEG, a brain scan requiring electrodes on the scalp. "Medication was either not needed or worked a lot faster if music therapy was offered," says Loewy.

Once a fixture at large hospitals, art and music therapy were largely banished as managed healthcare became more prevalent. But in recent years, patients and doctors alike have looked for ways to make medicine more human. "Medicine has become so technologically focused that the human aspect was set aside," says Nancy Morgan, director of arts and humanities at the Lombardi Comprehensive Cancer Center at Georgetown University in Washington. Lombardi offers patients therapeutic dance sessions, writing groups, and workshops featuring quilting, clay sculpting, and painting.

Both writing and visual art can play a role in reducing pain and decreasing physical symptoms of illness. Perhaps that's because they allow patients a way to release stress and process trauma. Indeed, two decades of research link writing about trauma to improved physical health.

In 1986, James Pennebaker, a psychology professor at the University of Texas-Austin, found that students who wrote about a traumatic experience were much less likely to visit the student health center in the subsequent four months. Since then, a slew of studies have shown that writing about trauma improves the health of people with chronic disease. The evidence is so compelling that Pennebaker expects to test his method this summer with soldiers returning from Iraq.

No wonder hospitals around the country have launched writing groups to help patients heal physically and mentally. Sutter Health system in Sacramento, Calif., for example, offers six writing groups a week through its Literature, Arts, and Medicine Program, launched in 2002 for patients, caregivers, and community members. The 12 to 15 participants in each group write fiction, essays, or poetry, then read their work aloud. The other participants are invited to comment, but they're asked to treat all revelations as fiction and to refer to the writer as the narrator--techniques designed to make the writers feel safe and uninhibited. "I have one patient who has really severe asthma and chronic lung disease," says Maxine Barish-Wreden, an internist in Sacramento who has referred many patients to the group. "It certainly hasn't cured her, but it has improved her symptoms and well-being."

In the body. Recently, scientists have been taking a closer look at what exactly is going on in the body when patients write a letter, paint a self-portrait, or listen to a favorite song. A series of studies by psychologist Denise Sloan at Temple University in Philadelphia show that after writing exercises, subjects demonstrate lower levels of cortisol, a stress-related hormone that may affect immune levels. And in 2004, a study showed that AIDS patients who completed writing exercises had higher levels of T-cells, which play a significant role in cellular immunity. It all ties together in the way art affects the brain.

"We believe music can cause neurochemical changes in specific parts of the brain," says Mark Jude Tramo, a neurology professor at Harvard Medical School and director of the Institute for Music and Brain Science in Boston. Those particular areas are related to the brain and body's "feel good" systems--the endogenous opioid, dopamine, and cannabinoid systems that are also affected by drugs like heroin, cocaine, and marijuana.

"Music is a powerful auditory stimulus," Tramo says. So powerful, in fact, that it may cause cells to release substances such as endorphins, which suppress pain, and immunoglobulins, which help fight disease.

Likewise, in a study published in May's Journal of Psycho-Oncology, Daniel Monti, medical director of the Jefferson-Myrna Brind Center of Integrative Medicine at Thomas Jefferson University Hospital in Philadelphia, looked at 111 women with different types of cancer who took part in a support group called Mindfulness-Based Art Therapy. The group combined meditation training with art tasks, from sketching self-portraits to sculpting with clay. Women in the group experienced significant drops in their stress levels and improvement in their health-related quality of life, including less pain, better sleep, and fewer general physical complaints. The results were so convincing that the National Institutes of Health has provided Monti an additional grant for a five-year study of more than 300 cancer patients, which will look closely at specific markers in the immune system.

Cutting costs. Evidence of the power of art comes at a time when hospitals and healthcare companies are cutting costs, and studies show that in some cases, the arts can indeed help the bottom line. Using music instead of medication to lull children to sleep, for example, can substantially reduce the cost of echocardiograms by eliminating the need for nurse supervision of medication and reducing procedure time, according to a 2002 cost-benefit analysis at Tallahassee Memorial. Live music played in neonatal intensive care units can send premature infants home up to 12 days earlier, saving an estimated $2,000 a day, according to Jayne Standley, a professor of music therapy at Florida State University. Music helps preemies breathe better and gain weight. And a 2005 study published in the European Journal of Anesthesiology showed that patients who listened to music after hernia surgery required less morphine to control their pain.

To be sure, the arts are not a replacement for medical treatment. "The effects are modest," says the University of Texas's Pennebaker of writing exercises. "But so are the effects of a lot of medical techniques." Says Christopher Rumana, chief of neurosurgery at Tallahassee Memorial, who has studied music therapy before and after brain surgery: "People by and large were happier, but it didn't make someone who was going to die live." Still, he believes music therapy is worthwhile, as it might make patients more comfortable with their doctor and willing to go ahead with treatment. Since his study, all surgical patients at Tallahassee Memorial have been offered an MP3 player so they can choose their own music to listen to before and after an operation.

ART THERAPY isn't something just any well-meaning virtuoso or painter can provide. It requires extensive training not only in the arts but also in their particular application with patients. Board-certified art therapists, for example, must have a specialized master's degree followed by one year of practice before they can take their exams for certification by the Art Therapy Credentials Board.

All the same, there still is resistance among the medical establishment. "In the beginning, we had a few doctors say, 'If we didn't have this arts program, we'd have another MRI machine,'" says Elaine Sims, director of the Gifts of Art Program at the University of Michigan Health System. The program now sponsors four bedside musicians, nine art galleries, rolling art carts that let patients choose framed artworks for their rooms, concerts, and visiting performers like the Royal Shakespeare Company.

While the growing acceptance of the arts has been grounded in research, its acceleration may be based on far more personal phenomena: More doctors are gaining firsthand experience. The Arts and Humanities Medical Scholars Program at Stanford University encourages its students to examine the intersection between art and science, while the narrative medicine program at Columbia University's medical school in New York trains doctors to write "parallel charts," where they record their own reactions to patients.

The art of medicine is also being used to help doctors and nurses manage their own stress and avoid burnout. The Louis Armstrong Center for Music and Medicine, for example, offers music meditation for oncology nurses--group sessions where nurses sing, listen to live music, and talk about their tough experiences treating cancer patients. And every other week, groups of residents at Beth Israel Medical Center convene in the center's music studio to play the drums, progressing from simple to more complex beats and working out their tension along the way. It seems that the arts can heal not just the patients, but the healers as well.

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