The following two articles by Patricia Martin appeared in
The Tico Times -- August
7, 1998
From
a Father's Grief, an Artists’ Colony
In
the verdant hills of Ciudad Colon in the western Central Valley,
70 year old Bill White prowls his acreage, pausing at a look-out
point to rest. While his eyes scan the patchwork vista of farmland,
town and forest spreading to the far Poas Volcano, his thoughts
remain focused on his own hillside.
An artists’
colony is about to come to life here. Today, the U.S. psychologist
is as close as he can come to happiness, for a man who has endured
unimaginable grief.
Beyond his
house, a new building awaits the arrival of the first two artists.
Writers are to occupy the lower studios, painters the upper ones,
graced with sheltered patios at the back. Another site has been
cleared on the 17-acre compound for composers’ private cottages.
Still in the dream stage are a theater and exhibition hall, for
both works in progress and public presentations.
Gradually
the conversation returns to the artists-in-residence program.
All candidates must be recommended by organizations in any country
and pre-qualified on the basis of dedicated talent, without deference
to income, gender, age or race.
During the
annual May-November term, food and lodging will be provided by
Bill at no cost to the artist, while airfare remains the responsibility
of the individual or the sponsoring organization.
He has financed
the project out of his savings, pledging to continue "until
the last nail is driven or the last dime spent - whichever comes
first."
"Soon
the colony will have to look to funding, whether from agencies
or private sources, but because this is an international arts
enterprise, I’m optimistic", he says.
Bill's children
will not be here to see it. Julia committed suicide four years
ago, at the age of 29. David died of a heroin overdose 19 months
later. He was 31. It is the artist in each of them that their
father wishes to dwell upon this day. The colony opening represents
a continuance of their interrupted works through fostering creativity
in others. "A time to celebrate", the arts patron affirms.
In a secluded
spot on the compound, a tiny memorial building stands. There,
an urn holds the ashes of a young woman who leapt from the 23-floor
balcony of her apartment in Seattle, Washington. Drugs played
no part in her death, nor in her life, for one who had witnessed
their devastation upon her beloved brother. Because David was
buried in Spain, memorabilia take the place of his remains in
the Costa Rican shrine.
Both were
certified geniuses, gifted with a cornucopia of talents. He, a
virtuoso of woodwind instruments, became a musician/composer for
ensembles and Hollywood films; she graduated from MIT at the top
of her class, with degrees in astrophysics and literature.
After a few
years in the scientific field, Julia took leave to develop her
play-writing skill, interning at the Royal Court Theater in London.
Plays and poetry remained her passionate endeavors until the end
in 1994.
Bill is asked
for his reasons for coming to Costa Rica in 1991 after retirement.
"All
my life I’ve detested war, which I consider to be legalized,
premeditated violence," Bill answers. "As you know,
Costa Rica has no armed forces – its policy is peace-making.
Besides, there’s no death penalty here, and a relatively
low rate of violent crime. Well, I just knew this is where I wanted
to live."
A Georgia
native, he had lived in various U.S. states before settling in
Los Angeles to pursue a doctorate in psychology.
The profound
impact of Bill’s loss is reserved for a private conversation
later, out on the screened porch in a surround of boughs. The
catharsis marks a change from years of sitting in this same spot,
numb and bewildered, barely responding to consoling voices around
him.
Bill sifts
through a compilation of Julia's poetry and plays, reading aloud
from Julia's poem, "The Playwright":
"I’ll
be years sorting through these…then I’ll have them published,
along with whatever I can recover from David’s music."
"The
Colony is such an exciting project. I keep thinking of all the
creativity that’s going to take place here, and the lives
and careers I can contribute something to."
On a peaceful
green hill where the spirits of his children abide, Bill White’s
words are life-affirming.
He has a future.
He has dreams ahead.
September
19, 2003
Cozy
Quartet Concert Kicks off Colony Events
As
the morning sun melts over the Artists' Colony in Ciudad Colón,
enchanting strains of a Bach composition emanate from a house
on the hillside. A recital is under way, presented by the "Capriccio"
string quartet in the home of Bill White, founder of The Julia
and David White Artists' Colony.
Some
50 guests are sharing the experience with Bill, in his spacious
living room that extends onto a patio and an eyeful of pastoral
splendor. For larger presentations, the room accommodates an audience
of 70.
This
is the first in a series of musical and theatrical events planned
for public enjoyment at the colony in the coming months, and the
event dovetails with music workshops sponsored by Margaret Underwood
at her Cariari residence. Mornings are considered the best time
for these performances during the rainy season, before the afternoon
deluge begins.
Today's
program at the art colony features both classical and popular
music segments, divided by a luncheon intermission. Works by Back,
Vivaldi, Mozart, Bizet, Verdi and J. Strauss Jr. share the spotlight
with such unexpected numbers as "Turkey in the Straw"
and "Fascinating Rhythm." When the quartet eases into
a slow, caressing rendition of "Over the Rainbow," many
eyes moisten and sighs can be heard throughout the room.
Establishing
an informal rapport with the audience, the performers encourage
people to ask questions, to move about the room and even approach
the four women for a closer look at their playing techniques.
"May
we touch you?" someone asks, causing a splash of laughter.
"Yes,
why not?" comes the amused rejoinder. "You'll see that
we are not a recording."
The
musicians introduce themselves as good friends three of whom play
in Costa Rica's Symphony orchestra in addition to performing privately
as the Capriccio quartet. Only violist Catherine Hayes hails from
the United States, while cellist Aurora Sáenz and the two
violinists, Mercedes Rodríguez and Gabriela Mora, claim
Costa Rican roots. Although Sáenz acts as chief spokesperson,
all four chat with the audience during the recital, explaining
the history or complexity of a composition, and demonstrating
the character of their individual instruments.
Some
audience members are surprised to learn, for example, that a cellist
uses a different clef from a violinist, with the result that one
musician may not be able to understand the other's sheet music.
In the case of Capriccio, however, cellist and music educator
Aurora Sáenz can read both scores.
Differences
between viola and violin are illustrated by comparing instrument
size, tone and pitch; then the imposing, deep-voiced cello commands
center stage, telling its story. Their solo demonstrations completed,
the players once again blend their strings in sonorous unity.
Encouraged
to comment on the musical offerings, the guests feel free to express
their reactions and emotions. After Vivaldi's Winter from "The
Four Seasons," a woman says she felt in the notes the chill
of winter, and then afterwards, the warmth of the fire indoors.
Strauss' "Beautiful Blue Danube" elicits so many comments
that the room is abuzz for several minutes. Brindisi from "La
Traviata" brings explosive applause and bravos.
"It's
wonderful to just listen to the music," a man tells his companion,
"but to increase our understanding at the same time. . .
well, that's something."
His
friend seems to sum up the feeling of many of those present: "You
now, I wouldn't mind waking up to a string quartet in my living
room every morning!"
Next
on the agenda is a playwriting competition in cooperation with
The Little Theater Group, where the winner will be hosted, free
of charge, at the colony for one month, to supervise the work
in progress. The public will be invited to attend the final production.
A similar competition is planned for composers, with equal rewards
and audience presentation. Entry dates and details, as yet undetermined,
will appear in the colony newsletters and in the press.
The
colony is a half hour drive west from San José in picturesque
Ciudad Colón. It can be reached by bus from the Coca-Cola
terminal, followed by a short taxi ride up the hill.
Anyone
wishing to book the Capriccio quartet for an engagement can call
289-5439. As to future events at the art colony, contact the publicity
department at 249-1414, or simply e-mail bwhite@forjuliaanddavid.org to get on the mailing list.
Fun
With Show and Tell
It's
the end of the month at The Julia and David White Artists' Colony,
when artists-in-residence prove that they've been working on something
other than their suntans.
At
the "show & tell" party, composers, writers, painters
and sculptors get a chance to share their artistry with friends
of the colony and members of the public. Following exhibitions
and mini-performances, a light lunch is served. Admission is free,
although a basket for donations occupies a corner of the room.
Easiest
to show are completed paintings and sculptures, with an explanation
of the subject matter and technique. Composers do a little concert,
while writers may read a poem or prose excerpts. Playwrights recruit
colleagues to take part in a play scene, occasionally with amusing
chaos among the untrained actors.
The
colony offers seven equipped studios for artists in residence.
Length of stay varies, depending on the project and the visitor's
schedule.
Julie
Strasheim, a Denver native now living in Rome, is a figurative
painter in oils who has opted for three months in the community
to complete her series of works. Julie bids goodbye to New Yorkers
Chet Kozlowski, novelist, and Brian O'Donnell, watercolorist,
who have only one month to spare this year.
Since
its inception in 1998, The Julia and David White Artists' Colony
in the Ciudad Colón countryside has attracted talent from
North America, Scandinavia, Spain, France, Argentina, Chile, Mexico,
Japan and China. Costa Ricans who already live in this country
feel less inclined to take advantage of the residency program,
but Bill White hopes to see greater participation from Tico artists.
Once
free of charge, residency now requires a fee, to aid with ongoing
construction and development. Separate facilities for musicians,
built last year, are already drawing applications from composers
around the world. Live music has been a welcome addition to the
monthly show & tell parties, and marks the beginning of regular
concerts as well.
