Here at my father’s atop the bluffs above the River Road the eagles get up-close-and-personal. Sometimes they fly so close above my windshield as I climb our big hill to the Big Brown House that I feel I should duck. Our area is on the migratory flyway for all sorts of birds. The eagles create quite a stir. Motorists stop to whip out their binoculars. The eagles soar. And roost in the bare trees that climb the Mississippi River bluffs.

So, I was especially struck by a dialogue between my writing pals Judith Stanton and Charlotte Hussey about watching eagles and crows. Judith is the author of “A Stallion to Die For: an equestrian suspense.” You can learn more about Judith's work at Cat Crossing. Charlotte is the author of “Glossing the Spoils” recently accepted for publication by Awen Press in the U.K. Judith lives in North Carolina while Charlotte lives in Montreal. You can learn more about Charlotte by reading her profile at Awen Press.

JUDITH

Just had to share! North Carolina State University in Raleigh is running a live cam on a bald eagle's nest at Jordan Lake only about 12 miles from me. There's about a 60-eagle population. The eaglets hatched on the 13 and 14th and Ma and Pa Eagle are devoted.

The cam was down for two days until just this morning, but it's live again now every day from dawn to dusk. Most of the time there's little action, with Ma or Pa just sitting on the next, but if you get lucky you get to see them feeding the babies from small birds or fish that they keep in their pantry-the lower right side of the nest. It'll be several weeks before they fledge, but I'm leaving it on all day and checking in when I take potty breaks.

Can't wait until the eaglets get bigger. Every spring I'm a devoted fan of the barn swallows who've been nesting in a corner of one of the back porches for years now, usually two nestings.

The eagles' location is a carefully guarded secret and in the interests of protecting the wildness of the eagles and themselves from anthropomorphizing them, they have not given them names. To avoid the commercials, you have to either turn down the sound or subscribe for $4 a month. Am tempted to subscribe just to support the effort. You can find more information at the Hancock Wildlife site.

CHARLOTTE

Last night when I got home right across the street in a tall maple were at least 200 crows.....a real murder. I think they were up to something, because after I went to bed a terrible howling started up. It was such a wind that pounded us all night long. Parts of Montreal are still without power.

I woke up in the middle of the all-night wind storm worried about what had happened to the crows and their nests in such wintery blasts as were going on. Do you think that’s what they were all convening about in the big maple a few hours before we got pummeled? I have no idea what crows do to protect themselves in such high winds.

Montreal has an enormous crow population and they do meet-ups in the winter. To keep warm? Exchange tips on where the best winter meals can be had? Crows are very intelligent and mysterious creatures. We’ve had as many as 5,000 crows roosting. I do love my crows!

JUDITH

Wow. I assumed all birds left the frozen north with only a few geese and ducks (protected by all that down) remaining.

Charlotte, I think birds have several options in high winds, including flying above them if the winds are low enough. But they must just grab a branch on the lea side of a large tree and hang on.

Yesterday it turned sharply cold (for North Carolina). Several dozen turkey buzzards spiraled in the down drafts above the courthouse in an impressive display for the few people out and about on the streets.

Eagle update: After only a week the eaglets have more than doubled in size and the feedings seem more and more frequent-maybe once an hour. Ma or Pa spends a few minutes shredding bits off the fish before starting to feed the little ones, and they are hungry little buggers. Here in North Carolina we're having a remarkably mild winter with no snow so far, but this same pair has raised broods for the last three winters when we did have snow. The babies are expected to fledge in early April. They’ll be enormous then, and the parents' job of supplying food for them will be almost endless.

STANDARD QUESTIONS

First, let me go on record with the standard intake interview questions we ask on first dates. It's sort of like a case study to find out where the person is coming from. In practice, of course, these questions are best artfully, skillfully, and organically scattered like breadcrumbs throughout the conversation: "Here's my answer. Yours?" Sometimes I've wished that we could just exchange synopsizes so we can cut to the chase.

Q: Childhood?
A: Anachronistic.

Q: Serious relationships?
A: Six. Two marriages. Two in which I proposed and was turned down. Two proposals I turned down. Symmetrical.

Q: Kids?
A: No. Godchildren, nieces & nephews and their children, upstairs neighbors. Having kids in my life is important to me.

Q: Work?
A: I have three basic skill sets: writing, teaching and training, launching and directing projects. My work in Africa, with the Pueblos in New Mexico, inner city youth, migrant and seasonal farmworkers, and corporate culture forced me to appreciate cultural differences while finding similarities that allow us to connect. From 1972 to 1989 I worked primarily in nonprofit organizations. Since 1990 I never had a full time job as I focused on my creative life as an artist, writer, and performer.

Q: Now?
A: Retired. There, I've said the "R" word. Bop between country and city as I share caretaking for my 96-year-old father. Follow my creative thread as best I can.

Q:When you're not with your father?
A: Rest, relax, recharge, regroup in the city with friends, books, films, and creative work as I'm able. Nothing of any particular social value.

Q: Travel?
A: Yes.
_________________________________

SPRINGBOARD QUESTIONS

Okay, now we get to the really interesting questions. In no particular order here are some questions my pal calls "springboards." My image of "springboard" is a high diving board. Warning: Be careful. Diving from great heights into deep water can be hazardous.

Q: What is the core value that motivates your life and work?
A: I want to make something beautiful for God. My vision is one world drawn together through art.

Q: The mission for Riehlife is to "Create connections through the arts and across cultures." What does connection mean to you?
A: Connection is at the heart of creativity in all its forms--the stuff we do daily and the stuff we make. To connect ideas--or anything else--one must first diverge to explore possibilities and then converge to bring these possibilities together.

Q: What's been the glue in your intimate relationships? Great sex?
A: [Laughter] Unfortunately, no. The glue has been companionship with an eye to comfort and help.

Q: Has formal spiritual practice been important in your relationships?
A: No. Though some have been soulful.

A: I've never heard you use "Buddhism" and "Art" in the same sentence. Do these connect for you?
Q: this is a question whose answer is contained in whole libraries. If we recast the question as "What's the Art Spirit to you?" then we cut it down to fewer libraries. Briefly? When we infuse our art with spirit, we infuse ourselves and the world with spirit. This morning I'm thinking of "spirit" as a "spirited horse" filled with piss and vinegar.

QUESTIONS THAT CUT TO THE QUICK OF ME

Q: If you weren't so involved with your father, what would you do?
A: Are you talking about right now? Such as: What are my interests? What are the constraints on my current life? Or, are you talking about the future?

Q: Let's say, what would your life look like without constraints (schedule, time, energy, mobility)?
A: I no longer know. Mostly I would have the space to know.

Q: What will you do after your father's death?
A: This is the really big question that cuts to the heart of me. My most tumultuous struggle is to imagine life without my father in it, and to prepare for that. Who will I be and what will I be doing after his death? Is there life after Daddy Care? Seven years into family caretaking, my challenge is to take care of myself and to trust that there is a future, even though I have no clue what it is. To trust that I'll be able to sort out later what it all means.

Ernest Dempsey and I met in 2007 when he reviewed my book "Sightlines: A Poet's Diary" on TCM Reviews--Tami Brady's review site. Since then we've become writing friends across the waves. On Riehlife I've often referred to him as "Our Man in Pakistan." Have some fun reviewing the Riehlife archives that feature Ernest Dempsey's wit and wisdom.

Here is Ernest' ode to the New Year, thanking his friends both far and near. Thank you right back, Ernest!
--Janet

________________

FROM ERNEST

2011 is about to be past for good in my part of the world. With special thanks to Janet Riehl, I dedicate the following to all my friends of the writing/publishing world.

On The New Year
by Ernest Dempsey

We say a year goes by, a new one starts
I try to find the sharp divide
Sharp as the calendar date
Within the book of my life
I see the past, the present, the future
No dates, however, no codes, no endings
The year in my life is a dream
Connecting who I was, am, and will be

Wishing everyone a Happy New Year!
Ernest

Ernest Dempsey and I met in 2007 when he reviewed my book "Sightlines: A Poet's Diary" on TCM Reviews--Tami Brady's review site. Since then we've become writing friends across the waves. On Riehlife I've often referred to him as "Our Man in Pakistan."

Have some fun reviewing the Riehlife archives that feature Ernest Dempsey's wit and wisdom.

Often I'll be typing along on my email and the chat box pops up with a greeting from Ernest. Something interesting always emerges. Here's today's chat that we wanted to share with you.

--Janet
___________

Ernest: Happy Christmas!

Janet: And to you. Do you celebrate?

Ernest: I used to celebrate in a very unusual way, not at all religious. Now I just remember those memories; and it brings a warm feeling.

Janet: What did you do?

Ernest: Hard to explain briefly. Twenty years ago I would make short films in my mind, involving the characters from my favorite TV shows. It’s like I had my own "film industry" which celebrated Christmas all day long: films, games, and songs.

Janet: Wow. Sounds like the birth of you as a writer.

Ernest: Actually that was when I in class 9th in school, but I already had started writing when I was in 6th. The time in 9th was the peak of my creativity.

At home, I would go up on the roof and take a paper and pen, and then it was all me and imagination and words and joy.

Janet: That's lovely! A good topic for a little essay. Or a blog post?

Ernest: I actually have been thinking of writing an entire book, though one extremely nostalgic.

Janet: Well, you can write about the goodness of the past without being nostalgic.

Ernest: Yes, especially now when I am an internationally published author. In those days I only dreamt of being a known writer. How are you and Erwin? Do convey my greetings to him.

Janet: Daddy just got up and is taking his medicine. I just conveyed your greetings to him. He said, "I'm glad to be greeted from Pakistan. I'm glad to be here other than Pakistan. I'm glad to be here at all."

Ernest: Erwin's wonderful!

Janet: Yup, he's pretty special. Thanks for the chat. Will you have an imaginative film festival today?

Ernest: I’m afraid not. But I may be keeping a game tradition alive. Actually it's interesting. Earlier this month, I played that game with my writer friends’ names, including you.

Janet: What did you come up with?

Ernest: An American writing friend held the contest, and I won. She wanted to send me a gift basket as my prize.

Janet: And what's in the gift basket?

Ernest: For men, it was snacks; for women, spa items. I didn't want her to send me the basket all the way from America. So I thought of letting her send it to an American friend on my behalf.

Janet: Sweet!

Ernest: Yes, but the question was who to send it to, since all my writer friends are so wonderful. So I wrote down the names of my most special American friends, all writers and/or editors.

Janet: You're a generous fella.

Ernest: Thanks! I played that coin game with the names as the contestants for the prize. I would like to post the score of the game after the winner gets the prize. For now, I’m keeping the name of the winner to let the gift arrive as a surprise.

Janet: Nice! Got to leave now. Always good to be in touch.

Ernest: Likewise. Bye for now!

__________

Ernest’s unique coin game’s score will be made public after the winner receives that prize. Don’t miss checking out his journal Recovering the Self.

I'm wearing my flamingo Airstream trailer pajamas as I write this. They're aqua with puff of snow, red scarves flying from the pink flamingo's while lights outline the Airstream's door and windows.

When I was a girl, our Christmas--like everything else in our family life--was do-it-ourselves from tree to treats to gifts.

We cut our tree up on the pine rows of Evergreen Heights, our family land. Finding the right tree was a highlight of the season. We were good stewards, and cut a scraggly tree to give space so the other trees would grow better. If it'd snowed, we pulled our tree back on one of our sleds. Back home a heavy duty metal stand supported our tree. Daddy drilled holes in the tree trunk and added branches to fill out our skinny tree.

My parents hid presents all over the house in odd places. When we scoured the house in search of them, they just found harder places. My brother Gary and sister Julia huddled in twos and threes conspiring what to give each other and our parents. That remains my favorite Christmas memory.

We opened gifts Christmas Eve. Uncle Ralph (my favorite uncle) and Aunt Dorothy (my least favorite aunt) joined us for the evening. They didn't have kids, so we gave them a whiff of having youngsters around at Christmas time.

We ate a light waffle supper in the dining room, then carefully opened presents in the living room. Mother brought out the Christmas cookies as refreshments halfway through.

Opening presents was ceremonial and thoughtful--often filled with humor. Each of us took turns being Elves. We couldn't pick our own presents. The person receiving the present then became an Elf. This way of presenting the presents and slowly enjoying them and thanking the giver slowed down the process and imbued it with meaning.

One year we gave Daddy seven pairs of cotton work socks--each wrapped separately. He opened the first package and said thank you. Then, when the second parcel came his way he caught on and said, "Oh! These are my Tuesday Socks." And, on it went until he got to his Sunday socks--dress socks for church.

We made a convivial social evening of it. Gary came up with the idea of attaching a string to one of the branches so we could include larger presents that wouldn't fit under the tree. He made box rabbit traps one year. The string led down to the workshop. We all followed and suitably admired them.

We didn't have that many presents, and none of them were expensive. It wasn't about the presents; it was about being together. Most gifts were home made, which I still love. The gift of a poem carefully presented, a coupon to plant hyacinths in the Spring, a booklet made with clippings from a magazine. Well into her adulthood my sister Julia was an ace at giving gifts that cost absolutely nothing. The intimate gift of being known animated our exchanges.

Last year I invented a gift for my friend Grace Madison (in her 80s): The Order of the Golden Rolling Pin. She's an ace baker. I made a certificate inducting her into the order and then painted a toy rolling pin gold to go with it. Her son presented it to her on Christmas. In the photo he sent, everyone looks happy. For an investment of $3.00 it touched a whole family and will give Grace a giggle afterward. She's one of my Women of Inspiration.

For my father's 95th birthday last year I created the Second Mild Award and the companion Women of Inspiration Award. My niece Janean Baird gave a gift of love when she made beautiful certificates for both. Her work multiplied significantly to touch the lives of people we didn't know. The certificates are beautiful, and infused with Janean's care, talent, and skill. Making these certificates cost her little in cash, but represented hundreds of dollars of in-kind contribution.

This year I found out that my brother likes ginger beer. So, I'm giving him a gallon bottle of it tucked inside a "Kudos" bag with a note that says how much I love him and value all that he does.

I discovered that my niece Diane likes Golden Sultana raisins. I stuffed a quart mason jar with them and slid it underneath our African Violet Tree that Daddy made.

For the girls, I've wrapped cloth that holds memories of Grammy Julia. Each is wrapped separately paired with a little story.

Truly, I believe that it's the thought that counts--carried out with a little panache.

My father Erwin Thompson--musician and raconteur-- tells this true story of old-fashioned square-dance music--when it was just music.
Janet
__________

There was this fiddler back some years ago who was learning. He had one piece that he played quite well, but it was a struggle for him to learn. He hadn't gotten around to learning any more.

The neighborhood was well aware of his abilities and limitations. When he went to a dance, he always took his fiddle and some time in the evening he would play his one piece, "The Gray Eagle."

All went well until one fatal evening when he was the ONLY FIDDLER THERE!

So he played "The Gray Eagle."

Everybody knew his situation. When they were getting plans for what to play for the next square dance of the evening, they would discuss all of the various choices without anyone expecting him to play any of them. Then someone would come up with a great idea. "Why don't you play that Gray Eagle!"

The crowd would hail it as a great new idea and the fiddler would play "The Gray Eagle!"

Tact, and fitting courtesy and ingenuity into social situations that could have been embarrassing.

Gordon Parks

Robert Hale--international photographer and journalist--exhibit "Intimate Encounters: The African-Americans" is featured by Portfolio Gallery and Education Center as part of the American Art Experience: St. Louis. The exhibit runs through November 30th. Hale's "Intimate Encounters: The African-Americans” presents portraits of people who have contributed to culture in their community at large. More information about "Intimate Encounters" follows our conversation.

I met Robert Hale at the opening of his photographic exhibit "Intimate Encounters: The African-Americans" at the Portfolio Gallery and Education Center. Afterwards Robert and Carol Powell hosted a salon honoring him at their home.

I'm so happy that you'll learn more about Robert, his work, and the creative process in our conversation today. He has such a wealth of information that relates to Riehlife's mission of creating connections through the arts and across cultures. Robert Hale's website is a gorgeous portfolio of his elegant photos of a wide range of subjects around the world.

This conversation with Robert Hale is one in an on-going series of posts about artists and writers on Riehlife.

--Janet
____________________________

Riehlife: Robert, you're known as one of the West Coast’s leading photographers. Your work both as a photographer and as a journalist, has taken you on assignment throughout the world. That sounds like a dream come true. The portrait of your father at the Portfolio Gallery is one of the most moving in your show. He was both a photographer and jazz pianist. How did your childhood in Roanoke, Virginia set you on your course as a photographer?

Robert Hale: I come from a family where music and art were highly valued, encouraged, and played a large role in my early years. My father was not only a jazz pianist. He and his two brothers were strongly involved in photography. My uncle, Sonny 'Bay' Hale, a portrait photographer, let me observe him work in his home studio. Another uncle, James, though not as involved in the craft as his brothers, nevertheless was a fine amateur photographer. My father was more of a editorial photographer. I supposed through osmosis I l absorbed the lessons.

My mother, a nurse, gave me patience and empathy, played the piano, and made sure we children were exposed to more than pop culture. Both my parents supported my early experiences such as belonging to Junior Achievement, being the school newspaper photographer, and taking my first job at 16 as photographer for our local summer theater. I even worked in the creative department of a large department store as a window display decorator. These experiences informed my craft in later years.

Riehlife: The bio for your exhibit describes how after graduating from high school and serving in Vietnam, you studied photography under Adrian Wagner and Hal Jordan at Los Angeles City College. You moved to Sweden where you worked as a photographer in Stockholm. When you got back to the United States in the mid 1970’s, you felt the need for greater security in your life and turned from photography to a 20 year career in advertising as an account executive.

Many of my friends in the arts are constantly figuring out how to continue doing what they love. The Day Job is a classic strategy for artists to gain the financial stability to pursue their art. You mentioned some of the lessons from that time in sales--that you learned to talk and listen at the same time. Could you give us some tips on how to do that? What other skills did you develop that help you in the business of photography?

Robert Hale: Although I originally didn't intend to spend 20 years in the "corporate" world, it did however allow me to provide a more stable and comfortable life for my son and myself. During this time I continued to shoot and acquire skills necessary to grow as an artist. Coincidentally these "day jobs" paid for seminars that gave me skills that would serve me well. Chief among these was learning how to promote myself. Two of the most important skills I learned were how to listen, and nurture the business relationship. I had to discern exactly what the client wanted and needed, and to always ensure that the relationship worked both ways.

Riehlife: You've described your time an account executive as “years in which I had lost my courage.” How did you manage to regain that courage in 1996?

Robert Hale: I had been showing my work in a few smaller exhibitions in and around Los Angeles. When my work appeared in a group show in Ojai, California, I got the opportunity to photograph the legendary "Mama of Dada, "Beatrice Wood. After making my first of many portraits of her, we became friends. Through her gentle mentorship I felt I could make the transition from the business world to the ART world. After one of my images of Beato was accepted into the Smithsonian's National Portrait Gallery's Permanent Collection, I felt I ready to make the move back into the world of ART.

Riehlife: Your images have been printed in prominent publications such as The New York Times, The Los Angeles Times, The Village Voice, The LA Weekly, and Black Enterprise. Do you make a distinction between your work as an artist and your work as a journalist? How has one informed the other?

Robert Hale: I consider myself primarily a environmental portrait photographer; but I have always prided myself on being able to shoot anything--to be a general practitioner of photography if you will. Whether using images or words I want to tell a story with beauty, humanity, and profound calmness.

Riehlife:Your photos at The Portfolio Gallery include such well-known figures as Louis Farrakan, Gordon Parks, Rosa Parks, Betye Saar, Ozzie Davis, and Carrie Mae Weems. Your network of contacts in America and Europe is extensive. How were you able to set up your photo sessions? Did you need to persuade those who sat for their portraits, or were most immediately willing because you came recommended by friends?

Robert Hale: My portrait sessions have come about in different ways; assignments from publications and commissions. Most though have come through recommendations by friends or chance or planned encounters. Once contact is made the first meeting is setup to establish a rapport, and show my portfolio. After that initial meeting, I decide where the portrait will be made--either in the subject's environment, or at a location that I choose to complement the subject. By the time we get together for the actual shoot, I usually have everything in place. The final step is to put the subject at ease. I want the people I'm photographing to be active participants in the process. The easiest part is the actually shoot.

Riehlife: Your sensitive handling of light and shadow brings out the essence of whatever you photograph. How do you set about revealing this elusive quality so that it will live in your prints?

Robert Hale: Light is very important for me. Probably more important than the background. I prefer soft flat lighting. Illuminating my subjects evenly with shadows in the background adds a sense of depth and mystery.

Riehlife: You've generously volunteered your photographic service to organizations such as the Los Angeles Children’s Museum, Aids Project Los Angeles, L. A. Shanti, Aids service Center in Pasadena, California. You serve on the board of Directors for The Black Gallery Group, Los Angeles, California. This is in keeping with your focus on contributing to the culture of your community. Did you choose these causes, or did they choose you?

Robert Hale: With the gifts I have been given, and my responsibility as a human being, it's important for me to use these gifts in service of others. Sort of making like deposits into my karmic bank account. I'm most comfortable offering my services where they are most appreciated and will do the most good.

Riehlife: You're now spending much of your time in France, following the path of expatriate black intellectuals and artists. I'm thinking of artists and writers such as Josephine Baker, Richard Wright, James Baldwin, Langston Hughes, Nina Simone, and Romare Bearden. What's that been like for you? Does it offer more freedom? Inspiration? Is there racism in France? How does your time there shape you as an artist these days?

Robert Hale: As you have said, I am following a long line of African-Americans who have ventured to France. While racism certainly exists in France, it doesn't have the same bite as it does here in the US. To be acknowledged as a photographer, and not as a black photographer, is a very liberating. In a country that has a deep appreciation of the arts, you are given more creative freedom to work and exhibit your work, allowing you to explore other avenues of expression that would normally not exist in the States.

Besides you cannot help but be inspired spending time in the land of Cezanne, Van Gogh, and Picasso, and that inspiration finds a way into your work. I have been very fortunate, and while it's hasn't always been easy, it's more than worth the effort to remain here. The rewards for me has been forming a wide circle of friends, a beautiful environment in which to live, a healthier lifestyle, and continued growth as an artist.

Riehlife:You mentioned that you'd approached Gordon Parks to find out how to stay human and approachable as one's reputation and celebrity grows. Gordon and others of his generation didn't set themselves apart. They were even listed in the phone book. What did you find out when you talked to him?

Robert Hale:Meeting Mr. Parks was one of those high points in my life. Sharing a couple bottles of good wine only made it better.

To spend time with a man who valued his humanity and creative skills above all else was just the lesson I needed to learn in order to help understand the proper balance between one's celebrity status and one's humanity.

Riehlife: It's been a pleasure learning more about you and your work. Any last thoughts?

Robert Hale: Thank you allowing me to talk about myself. I'm more comfortable behind the camera and allowing my images to speak for me, but I appreciate for this opportunity. I hope to continue to travel the road that began in my childhood, and to grow both as a person and as an artist.

_________________
WHERE:
Portfolio Gallery in Grand Center
3514 Delmar Boulevard, 63103.

CONTACT:
314-533-3323
www.portfoliogallery@att.net

LIST OF PORTRAITS

Robert Hale: Intimate Encounters – “The African-Americans”

1. Herbert Gentry
2. Louis Farrakan
3. Gordon Parks
4. Rosa Parks
5. Emma Amos
6. Vincent Smith
7. Esther Rolle
8. Albert Murray
9. Kehinde Wiley
10. Herbert Gentry
11. Samella Lewis
12. John Outterbridge
13. Artis Lane
14. Laura Mae Gross
15. Charles Searles
16. Robert M. Hale (Father)
17.Betye Saar
18. Ozzie Davis
19. Earl Ofori Hutchinson
20.Carrie Mae Weems

All Photographs $400.00 each

PORTFOLIO GALLERY AND EDUCATION CENTER PRESENTS:
Robert Hale, photographer/journalist, as part of the American Arts Experience: St. Louis

WHERE:
Portfolio Gallery in Grand Center
3514 Delmar Boulevard, 63103.

WHEN:
Exhibit runs through November 30, 2011.

CONTACT:
314-533-3323
www.portfoliogallery@att.net

WHAT?

International photographer and journalist, Robert Hale's "Intimate Encounters: The African-Americans” presents portraits of people who have contributed to culture in their community at large.

WHO?

Robert Hale is one of the West Coast’s leading photographers. His work both as a photographer and as a journalist, has taken him on assignment throughout the world. His images are characterized by clarity and simplicity, with an extraordinary eye for light and shadows. Whether animate or inanimate, Robert feels his subjects have an inner essence, and, if handled with patience and sensitivity, this essence will reveal itself. His goal is to allow it to live in prints.

Robert, whose father is both a photographer and jazz pianist, developed his interest while still a boy growing up in Roanoke, Virginia. After graduating from high school and serving in Vietnam, he studied photography under Adrian Wagner and Hal Jordan at Los Angeles City College. He then moved to Sweden where he worked as a photographer in Stockholm. Upon his return to the United States in the mid 1970’s, he felt the need for greater security in his life and turned from photography to a career in advertising.

Although he spent the next 20 years building a successful career as an account executive, he describes this time as “years in which I had lost my courage.” It wasn’t until he reached his middle years that he determined to devote himself fully to passion of his youth. Since making that decision in 1996, his progress in the world of photography has been phenomenal.

Robert’s images have been printed in such publications as The New York Times, The Los Angeles Times, The Village Voice, The LA Weekly, Black Enterprise, and a variety of national and international publications. He is currently the Directors Guild of America’s photographer.

Mr. Hale has been proud to volunteer his photographic services to the Los Angeles Children’s Museum, Aids Project Los Angeles, LA Shanti, Aids service Center in Pasadena, California, as well as serving on the board of Directors for The Black Gallery Group, Los Angeles, California.

Portfolio Gallery Presents:
Robert Hale: Intimate Encounters – “The African-Americans”

1. Herbert Gentry
2. Louis Farrakan
3. Gordon Parks
4. Rosa Parks
5. Emma Amos
6. Vincent Smith
7. Esther Rolle
8. Albert Murray
9. Kehinde Wiley
10. Herbert Gentry
11. Samella Lewis
12. John Outterbridge
13. Artis Lane
14. Laura Mae Gross
15. Charles Searles
16. Robert M. Hale (Father)
17.Betye Saar
18. Ozzie Davis
19. Earl Ofori Hutchinson
20.Carrie Mae Weems

All Photographs $400.00 each

In her series of articles on Riehlife, Khadijah shares how she stays sane by encouraging and nurturing creativity in herself and her children. Read about her life in Yemen at her blog Yemeni Journey.

Khadijah is a transplant from Wisconsin's Kickapoo Valley. She's lived in Yemen for almost nine years with her husband and eight children.

#1 "Creative Parenting: My Head Is Full of Poems."

#2 Creative Parenting: Poverty as Creative Catalyst

Now...here's number 3...

______________

Another Way of Seeing
by Khadijah Lacina

It seems a simple truth that for every lesson I teach my children, they teach me another, unique lesson. This was the case last week, as I sat typing at my computer as my six-year-old daughter. Maryam came into the room and started rummaging around for paper and pencil. I didn't ask her what she was doing, I simply ripped out a piece of notebook paper and gave it to her, along with something to draw with. As I continued typing, she put the paper on a hardcover book lay down on the floor on her stomach, knees bent, her feet waving in the air.

A few minutes later Mu'aadh, my eight-year-old son, knocked and entered my room. He tossed himself down on the couch and started humming to himself. Just as his tuneless humming was about to drive me batty, Maryam invited him to come and draw with her. He didn't commit himself, but sat down next to her and they began a whispered conversation that was much less annoying than his humming had been. I continued working as they talked, and soon I noticed Mu'aadh getting down the box of crayons and colored pencils from Grandma Gretchen.

“You have to draw the tree, it isn't right without the tree,” said Mu'aadh. More whispers, then, “You draw the tree if you want the tree.”

“Where's the red? I need the red.” The sound of fingers dragging through crayons. “Here, this is sort of red, or maybe sort of maroonish-peachish.” I paused, thinking, “Maroonish-peachish??” Not two colors I would have ever thought to associate with each other.

“You color that part, I'm coloring this part.”

“We can both color it, see?”

After a blessed half-an-hour or so, I was proudly presented with a drawing of our house. It was small, in the background, and indeed no tree had been placed where the tree in reality existed. The foreground of the picture was taken up with a riot of colors--reds, greens, blues. I searched for the “maroonish-peachish” but failed to find it. Not wanting to seem dense, I didn't ask what the colors represented.

Instead I looked at the picture from different angles. Then I had it. The beautiful jubilation of color in front of the house was the field of garbage where our neighbors all dumped their trash--brightly colored plastic bags, wrappers of all description, vegetable peelings, whatever they had to get rid of. This same field of trash had upset and annoyed me on and off for months. Yet Mu'aadh and Maryam had made it look pretty, almost like a field of flowers in full bloom.

Later, on the roof, I looked down on the garbage field. It still looked ugly to me. Then I thought of the children, and how they could see beauty in it, enough beauty that they felt they had to put it to paper. Always willing to learn a lesson and nurture my inner child, I scrunched up my eyes a bit, and looked again. Instead of looking at each individual piece of trash, I tried to let my mind see what Maryam and Mu'aadh had seen. In the end, I decided their picture was better than the field of garbage could ever look, but I was thankful for the reminder, gently given by my little ones, of the beauty that can be found in almost anything, if we take the time and make the effort to see it.

All art practice is based on repetition as we attain mastery. It's practice, right? Music, dance, theater, visual art, and writing. These are called "disciplines" of course, because they require discipline. Repetition is how we get there.

As musicians we practice scales. As artists and writers we show up in the studio each day. As performers in theater and dance we attend rehearsal after rehearsal until opening night.

Repetition also brings release into spirit.

The structure and composition of arts involve rhythm and recurrence: repetitive chants in poetry and prose, motifs that repeat in dance and music and so forth.

Repetition in art often is the goal itself, and makes a statement. Many modern artists (especially women) have incorporated this element into their work.

Quilting is an example of repetition of stitching and piecing that is highly labor intensive. My friend Lucy Arai who incorporates Sashiko (a traditional Japanese quilting form) into her art pieces has to guard against carpel tunnel syndrome. Lucy also has told me that she uses the repetition in the techniques she uses as spiritual practice.

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A writer who rides horses shares:

Yes, definitely riding. I remember the first time I rode my mare, the dear departed Cherie, who was schooled in dressage up to third level, I realize halfway round the ring, trotting, her pace was steady as a metronome. Very reassuring.

When I was teaching, I somehow got involved in a writing-across-the-curriculum project with architecture students. Their assignment was to design a building for a women’s studies center and to come up with trope to hang their design ideas on. The professor gave them a visual to begin from, the Greek statue of the Three Graces.

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A poet and dancer says:

I use dance as my primarily form of renewal--especially when life is too demanding to write. I carry myself with more grace and poise through whatever the daily demands are.

I think the sheer repetitiveness of a form like belly dance nurtures me in some way, rather like the rocking a baby needs. Also when I can’t unwind from my night teaching, if I put on a belly dance DVD and the repetitive movements and music will have me off to sleep in about 20 minutes. I feel a bit weird about this, as I feel I should be meditating instead, but whatever works: go for it.
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My work in art school was filled with labor intensive work. Building in clay is labor and time intensive by definition. The larger the scale of the work the more magnified this becomes. I made a 5-foot boat made of hand-pulled sheets of paper that took weeks. We all have our stories.

Meditation explicitly relies on repetition. You need to do nothing more than dance or ride horses as your spiritual discipline if that works for you. Release the idea of "meditation" as a separate activity.

Many daily tasks such as peeling potatoes, walking, rocking the baby, petting the cat involve rhythm and recurrence and can lead to comfort and even spiritual growth and transcendence. Our view of creativity as a society tends to be far too narrow.