Shara Lunon

Shara Lunon aka Sha-Raw the panther paw, aka RaRa bird no.3, has dedicated herself to the art of voice. She studied Ethnomusicology and Vocal Performance at the University of Florida, focusing on the operatic technique. During and since, she has experimented in the vocal stylings of electronic/dance, hip-hop, and R&B in such groups as MSNRA, Jovian Junction Orchestra, and Wizard Women. Shara has also been a member of the Church of Holy Colors/Milagros art collective, and aided in the formation of the Elestial Sound record label. Recently relocated to the big apple, she hopes to further her work in codifying her style of "hiphopera".

mal·func·tion // malˈfəNG(k)SH(ə)n/ - Filmed and edited by Rose Vastola 2014 Words and featuring Shara Lunon / Community, Cultural, Condense, Convergent, Constitution, this video examines misconnections and malfunction within reality and society. Between interactions with each other and within our selves. The video features Shara Lunon a Vocalist whose words and appearance is created and manipulated to show true beautiful and a dysfunctional decay. This piece acts as a experiment to digital media as it combines four major video editing softwares and modeling programs.

Artwork by Kodi Fabricant

Artwork by Kodi Fabricant

Translation from Portuguese:

At the bottom of a well, memories arrive.

In silence, you are blind

You forget that your body exists;

You forget that your life exists,

Like the sky forgets it has clouds

Like an apple forget it has seeds

Like the air forget it makes the wind.

A river of memories flood

Blinding all senses

Are the images happy? Are they not?

At the bottom of the well

All you can see is yourself.

Untitled

The stars are falling all around my bed, 

You kissed not me, but one instead.

Did our lights confuse? For I am here.

That star was dead. Only shiny and shear.

Littering eyes, of sights so near.

It glints so pinched; so intentionally instant you forget,

The excitement.

Blues

Again, love again blues said mr L Hughes. 

Again, love again blues I say it in twos 

For three is sacred and one is just too few. 

I say it from my lips to the ears of you, 

If blue be the hue then let royal be the cue.

Look to the skies and midnights for truths.

Add in some navy and periwinkle for views,

For the shades of it only goes for miles

Kind of like stings of pearls on have their styles

If it came to it, the my lips would only smile

At the tint and hint of the bluest of piles

A love like this is like Coltrane and Naima; 

Like breath of Dizzy or the hand of Fatima. 

Press against the palms feel the heat of ambition 

Watch it explode continuously infinite.

If I am dead, then all this is done.

Like the stars burning bright my light will still come.

I let the waves take my journey to the extent of the one 

Sanders play that horn so my chords can strum 

Sing  the songs so rarely sung,

And quest for love beyond bells rung.

My arrow is aimed at the blazing sun and,

When my wings melt then I’ll have begun,

You see to be kissed in burns I must have flown

From the wisp of the clouds my light is shown

Reflecting the radiance of what once was,

Spinning the wheels of color from below and above.

If blue is the color, I’ll take it with gold,

So that I kiss the sky endlessly bold.

Kiss the Crete- All women's skate tour (music by Hi-Rule ft Shara)

Live performance of MSNRA at Medusa Studios in Gainesville, Florida. Filmed and Recorded by Dave Melosh and friends

Sem título (Letícia) 

Untitled (Leticia)

Me disse com uma voz, ou, com

as palavras de que meu coração sair. 

I said with a voice, or with the words that my heart left.

Eu ouvi ou eu li que ele foi 

pra um outro amor. 

I heard or I read that it went to another love.

Me disse que eu sinto nada, ou,

eu sente tudo. 

I said that I feel nothing or I feel everything.

Eu me lembrar, não, talvez eu esquece se ele foi,

ou ele ficou na mesa numa fruteira. 

I remember, no, maybe I forget if it went, 

or if it stayed on the table in a fruit bowl.

A fruta do meu espírito. 

The fruit of my spirit.

O sol ascenda, e ele começa bater

The sun ignites, and it begins to beat

Mas nunca comigo.

But never with me

Só vive quando ta longe de mim. 

It only lives when it is distant from me.

Bem longe de mim.

Greatly distant from me.

Black History Month

Got a chip of the world sittin’ on my shoulders.

Feelin’ pressure in layers folding over.

Weight of expectation from this dark pearl growin’ bolder,

As my heart of metal is only gettin’ colder.

So I found a tribe that steeps its growin’ culture,

From Zebulun to Zulu, young elders becomin’ older.

Savin’ black history, present, and black future,

‘Cuz what they teachin’ today lacks stature.

So fuck this ‘given’ month I do it avidly.

From sun up to sun down I sing it gladly:

We shall overcome but won't hit prosperity.

Like misery and hate, ignorance keeps company.

Worse is that it goes unnoticed.

Blinded the eyes through packaged doses.

Dope dog sniffed out, ass’ shitty grosses.

Gots the habit now, and the cycle keeps goin’.

For in the eyes of Uncle Sam it's cheaper to sell it.

Keep Uncle Ben down then send him to jail; it

Drives more than Ms. Daisy, but to Davis it compels this

Fight for freedom ‘cuz the civilities are just basics.

For it is true more people are hurtin’ than are eating.

For it is real that more profit is gained in killin’ than in feedin’ them,

And we hold these truths to be self-evident.

Beyond that, we hold them to be relevant and prevalent.

And it’s amazin’ how it’s gone on for centuries,

And how suppression imbeds itself in genetic memories.

It goes so much deeper than veins so tainted,

Ghettos and projects are only where they placed us.

The mind is what has been so deviated, so wasted

Conditionin’ then degraded to demean Negro races.

Thoughts of black brutes rally against their brethren,

Turnin’ in their brothas and sistas thinkin’ they gon’ win.

Your chains are the same but are within,

And maybe I don't know shit ‘cuz I'm no African.

My name is formed x and has no sentiment.

My skin is only ‘dipped’ with pigment, like it’s not legit

But I am at no cost anyone’s victim.

I am not a big-lipped big-butt untamed mane.

I am not the image of uncivilized, criminalized, or untrained.

I am no Aunt Jemima, no mistress, nor slave;

I scream of beauty and chant of change.

I stand here, eyes opened, glaring at you.

I know who I am, where I'm from, and what I do.

And since I am stripped of my heritage I'll make mine new.

Breakin’ down the box to sojourn the truth.

And if I’m just the pour ghetto chil’,

Then you fucked up teachin’ me to read.

Learnin’ for myself how to write and think.

This ‘given’ month you so admirably beseech,

Is just to mask your pile of shit that endlessly reeks.

Stainin’ the sheets, red white and brown.

It’s airin’ out for the public to see now.

 



Rozalyn Crews

Rozalyn's art and social practice is informed by structures of observation and documentation, and it is inspired by collaborative environments like museums and the archaeological field. She thinks of art-making as a way to help the public organize and explore their curiosities by presenting different ways of seeing. Her work aims to expose prejudices and amplify voices that frequently go unheard. Embracing unique approaches to observation, she believes art can act as a critical tool for demystifying the ideology of inequalities.

Roz received her BA in Anthropology from New College of Florida and is currently a student in the Art & Social Practice MFA program at Portland State University. She studied public archaeology and community engagement during college and is now the Artist in Residence at Portland State University’s Housing & Residence Life department. Born in Gainesville, Florida, she lives in Portland, Oregon.

As the FYE-FRINQ Artist in Residence, Roz is responsible for providing creative support to the Freshman Year Experience program and the students, faculty, mentors, RAs and LCAs involved in the living and learning communities. She works closely with a faculty member mentor to participate in class projects and create supplementary workshop programming for the students. In addition to providing creative support to the program, she produces community art projects that highlight the themes presented in FYE-FRINQ class syllabi. She lives and fosters a creative community in the Broadway Building Residence Hall at PSU.

Reading the Phone Book was an experimental installation in the AB Gallery at Portland State University.

Roz hosted a spelling bee for her class. Controlled by performance in the spelling bee, the participants built a dance score using various appropriated instructions from the Fluxus Workbook (ed. by Ken Friedman, et. al.), Fluxus-inspired instructions that Roz invented, or the students' own ideas, which they could write down on blank slips of paper. Read the instructions for the spelling bee game here.

Roz used the final score, pictured above, to perform her first solo-dance. This piece was choreographed by Nina Berry, Jen Delos Reyes, Joshua Compton, Leroy Elie, Alyssa Jensen, Jordan Hoagbin, Edward Ershbock, and Laura Sandow. Click here to view screen shots from some of the choreography footage.

Nina Berry, Jordan Hoagbin, and Rozalyn co-curated a series of three conversations that addressed different issues that they were passionate about. The project took place over the last three weeks in January of 2015, one conversation per week, hosted in the AB Gallery within the Art Building at Portland State University.

The goal of the series was to produce meaningful conversation in an art gallery around a topic that they felt deserved discussion. To give special privilege to these topics as centers of conversation was a way to honor their importance in everyday life. The topics included in this series were Nails & Feminism: a discussion of the role of feminism in our lives; What Does Art Do?: a conversation addressing the importance and function of works of art (from painting to social practice); and Your Culture is Not My Trend: a conversation on cultural appropriation versus cultural exchange.

This is a notebook for Roz's current research about performance art, sports, spectators, audiences, artists, invention & athletes. You might see interview transcriptions, anecdotal evidence, vlogs, guest posts, photos, lists, etc.

To submit a guest post about your experience with art & sports, email Roz at
artandsportsresearch@gmail.com with your story, idea, interview, vlog, painting, performance piece, etc.

Abby Feldman

Abby Feldman is a bi-lingual comedian, actress, and writer based in New York City, fluent in both English and Spanish. She looks sweet, and she is. You can find her performing stand-up and giving advice on her web series "Love, Abby". 

Aliya Bonar

Aliya Bonar is an artist, community organizer, and event producer. Using fashion, costume, interview, and installation, her work engages individuals in exploring how we present ourselves to the world and breaking down the divide between professional and playful. The “PowerSuit”—a defining component of Aliya's body of work—is a personal talisman, relating to the wearer's body and history. It is what one's most courageous self wears and while clothed, one can't help but be powerful.