apprehension [L. apprehendere, to take hold of] 1. capture or arrest 2. mental grasp; perception or understanding 3. a judgment or opinion 4. an anxious feeling of foreboding; dread

alchemy [Gr. cheein, pour; L. fundere, to melt (metal)] 1. an early form of chemistry, with philosophical and magical associations, studied in the Middle Ages: its chief aims were to change baser metals into gold and to discover the elixir of perpetual youth 2. a method or power of transmutation; esp. the seemingly miraculous change of a thing into something better

Being constitutionally incapable of choosing poetry, much as I love it, over music, which at its best incorporates poetry, you'll know which door I chose. Meeting Room #1 soldiered the usual ranks of metal chairs although, participants being artists not scientists or engineers, they were somewhat askew.

Now it occurs to me that, if we had good live music at G-8 summit meetings for leaders and their entourage and for protestors, we might understand and resolve our differences more peaceably. At least we'd have more fun in the process (unless like little boys we really like fighting and war toys. And there my mind comes to a deadend, just like the road I lived beside for nearly 20 years).

Four well-loved regional performers played, sang, and answered questions about the creative process that resulted in: "If I Could Find A Way" and "The Hero" (Roger Rasnick); "Doggone" and "Basketfull of Singing Birds" (Ed Snodderly); "Wild Boys On The Corner" and "What About My Heart?" (Andrena Belcher); and "She's Gone" (Rob Russell).

Ed and Andrena had performed together just a few weeks earlier, kind of next door at the Reece Museum’s quarterly “Cabaret” -- musical events set amidst collections of traditional Appalachian handcraft (including wagons, pianos, and backcountry stringed instruments) and more current art.

Workshop musicians noted that, as in stories and poetry, their songs were a mixture of other peoples’ experiences, imaginings and expressions and the songwriter’s own, so the result is a melding rather than reflection of the separate individual. Perhaps that is what creates the best of art in any form -- that it speaks to an inclusive expanse of human and divine apprehension.

If it does this well, it appeals universally to a wide audience. Which leads to the bridge between creation and ... getting it out there where people may relate and, hopefully, find reinforcement in the realities of their lives, comforted in sorrow and/or inspired in joy. To that end, and for financial upkeep of course, these four workshop musicians had tapes and CDs for sale alongside books by authors leading or mentioned in other workshops.

There have been many articles and news stories about governmental cuts in funding the arts, both for the general public and in our school systems. Artists -- including writers, musicians, painters, and sculptors -- travel conferences, fairs and concerts to promote their work. They also donate time to educational and civic institutions.

You can help support and continue the tradition in Appalachia of “grassroots” creativity, of soul work, by attending a poetry reading, an open air performance, a gallery show. And, if you’re able, by buying a sample to save for yourself and your home. It will be a memory of treasures, a hint of the artists’ whole work, a gift of love and pleasure. Alchemy turning sorrow and terror to beauty a body can bear and a mind can stand to know.

To be aware, to truly see time’s holograph of horror and transform it with hard work and talent is the closest to divine on earth we’ll know and, at its best, the holiest offering and heritage to our “fellow man.”