KUAF Arts Beat

Courtesy, Paul K. Logsdon

For millenia food has seen dramatic shifts from cultivation to preparation. Because food and eating are intertwined in the human experience, it only makes sense that it travels from our plate to our art. 

This year the Fayetteville Roots Festival focused more intently on food, with added culinary-centered events and chefs getting equal billing as performers. 


Although Amos Cochran never studied formal music theory and admits that he doesn't really know how to read music, his sonic dreamscapes have featured in films screened at Sundance and the Berlin Film Festival and brought him a regional Emmy nomination. 

Although Robert Henry grew up with country on the radio, it turns out his dad's favorite piece of music was a movement of a piano concerto by a Russian Romantic composer, which Henry first learned as a teenager in Atlanta. 

"It has it all," he says of the sweeping popularity to the piece that has him thinking of his dad every time he plays it. "Audiences always spring to their feet at the end of it. It's going to be with us for a long time."

An attempt to translate Rainer Maria Rilke's poem "The Panther" at age 14 really resonated with Cody-Rose Clevidence. That impulse to dissect and deconstruct is on full display in Clevidence's new collection Flung Throne (stylized Flung Throne).

There's a hightened resonance in "The Future Is Female," a mulit-media exhibition featuring 80 works from 45 contemporary artists now on display at 21c Museum Hotel Bentonville. The phrase, seen all over social media and as a rallying cry for the women's resistence movement in the Trump era, was coined in the 1970s at a women's bookstore, at the height of second wave feminist activism.