Sarge Lintecum

Approval Type

Community Based

Artistic Discipline

Multi-disciplinary

Program Type

Performances, Workshops, Residencies, Lecture/Demonstation

Populations/Areas of Interest

Grades K-6, Grades 7-12, In School, After-School / Out-of-School, Young Adults, Adults, Older Adults, Intergenerational, Persons with disabilities, At-Risk, Underserved

Artistic Approach

I am an interdisciplinary artist because I use writing and music to share my inner most feelings and to show others that they can do the same. Because my art form evolved from self-therapy, I didn't consciously plan on turning my writing into a career. However, when I discovered that performing before cheering crowds is excellent medicine for post traumatic stress disorder, and that my message and music help others cope with ptsd, I decided to record my "Vietnam Blues...Combat Tested Blues For Peace." I was blessed to be taken under the wing of one of the best sound engineers and producers in the valley, Clarke Rigsby, who brought internationally accredited musicians into his studio to cut my recording. Billboard Honorable Mentions have been awarded to 5 songs from the "Vietnam Blues" recording and it is in several documentary films including the award winning "In the Shadow of the Blade" Best of Show Houston International Film Festival 2004. My music is sold internationally and it can be downloaded at all the major music sites. Also, I am sponsored by the Lee Oskar Harmonica Company and I record cell phone voice ringers for Lee Oskar Productions. Using my art form for these exciting projects is very gratifying, of course, but the most gratifying is the opportunity to help others by donating performances to worthy causes or by creating fundraisers like "Sarge's Free Fall for Charity" (parachute jump for the homeless). Although I don't promote the idea of jumping out of a plane to give back to the community, I do promote the idea of using our talents to benefit others, not just ourselves.

Teaching Artist Approach

I believe that teaching others to tell their stories through poetry and music is inspiring work because I know from personal experience that writing can literally save one's life. By giving an honest presentation about my life, including my struggle with the aftermath of my Vietnam War experiences, students are eager to share their own stories. The sharing of these stories is vital to the intent of my program, so immediately following my introduction performance, I engage the students in conversation and questions. I believe that being genuine with and accessible to the students adds to the comfort level of their learning experience which in turn opens avenues to communication. Interaction between my self and the students and between the students themselves is stressed in my program because it helps us all reach new levels of self-awareness, creativity, and expression.

Program Management Strategies

When planning a residency I work closely with my business manager and wife, Leslie, because I had a 106.8 degree fever with one of my malaria bouts in Vietnam, and Leslie is not only the detail person, but my memory as well. She keeps me on target with the logistics of the residencies and assists me in the classroom. Working together, Leslie and I make a professional, dependable team. Our planning always includes working closely with the residency's project director, teachers, and staff to create our program to serve their specific needs and goals. We remain flexible and open-minded during the planning process to make it easier to integrate the goals of the school with our own goals. Throughout the residency, we work closely with the project director and teachers, making any needed adjustments, and exchanging feedback on the progress and success of the residency.

Program Description

My residencies are designed to motivate and inspire students to write and tell their own stories through poetry and song. I begin by introducing them to the idea that most people love poetry even though they may think they don't, because most people love music, and songs are just poetry turned into music. I show the students examples of turning poetry into music by performing my "Vietnam Blues" music and Slam (performance art) Poetry. After my performance, I answer students' questions and tell them my own compelling story. I then present several writing styles and get the students started on their own pieces. I recommend students begin with free verse poetry so their writing can flow more freely by being able to focus on their stories instead of rules. Students are encouraged to engage in group brainstorming and sharing their stories with peers during the writing process. This technique nurtures class enthusiasm, unique creativity, peer acceptance, and fun! My program also includes performance instruction, microphone use, delivery techniques, and stage presence to prepare students for the culminating event called the "Poetry Slam". The Slam is an exciting way to reward the students because it gives them a chance to perform their work before their school and their community. The Poetry Slam is always a huge hit with both the students and the community because it's a high-energy, fast-paced competition where five audience members are randomly picked to judge the poets and their poetry "Olympic Style". Fun is had by all, prizes are won, and no student goes away empty handed or empty hearted!
As far as the age-appropriate aspect of my program, I have taught kindergarten through college classes quite successfully. I must admit that when I was doing a 30 day residency in Williams, Arizona for K-8, the kindergarten teachers first looked at me like, "What's this guy going to do for MY class?" I had it covered, though, because I have a lot of material not related to Vietnam, although I must brag that I'm able to grab the attention of all age groups with my Vietnam Blues songs (which sometime include humor), powerful music, and high energy performance.

Technical Requirements

When teaching students how to write and perform poetry and songs, my standard equipment is a microphone, a microphone stand, a music stand, an amplifier, and a CD player. For some classes, I also use a TV, a DVD player, and a slide projector. For auditorium and stage performances, I use the equipment listed above with the addition of a monitor and sitting stool.

Space Requirements

My performance space ranges from classroom size to concert band shells and I can easily adapt to whatever space is provided to me. Generally, though, in educational settings I use a classroom, a multi-purpose room, an auditorium, and/or a theatre stage. I don't have any storage or security requirements when performing in classrooms because I take my equipment to and from class each day. When performing in the larger settings, I'm provided with a sound system and any additional required equipment which is stored and secured by the school.

Supply Requirements

I use the standard school blackboard with chalk or message boards with markers for student instruction and composing poems with the class. For residencies 30 days or longer my program includes publishing a school "chapbook" composed of the students' poems, so I need access to a computer with book publishing software, a colored printer, and printer paper.

Special Considerations

When doing a residency program that culminates in a Poetry Slam, rehearsal space is required in the same space where the Slam will take place. When my program includes a student chapbook for a school fundraiser, a space is needed for the books to be sold at the Slam.

References

Patrick & Cheryl Fries, Owners, Arrowhead Film & Video
522 E. 6th Street Austin, TX 78701
www.intheshadowoftheblade.com Phone: 512.302.1100

Lee Oskar, Owner, Lee Oskar Harmonica Company
P.O. Box 1120 Duvall, WA 98019
www.leeoskar.com Phone: 425.844.9889

Lee Andresen, Lake Superior College Professor, Author, "Battle Notes: Music of the Vietnam War"
2101 Trinity Road Duluth, MN 55811
www.battlenotes.com Phone: 715.392.5340

Clarke Rigsby, Owner, Tempest Recording
P.O. Box 1007 Tempe, AZ 85280
www.tempestrecording.com Phone: 480.968.9506

Sarge Rodriquez, Nam Jam Director
Vietnam Veterans of America, Tucson Chapter #106
juanrodriguez11@msn.com Phone: 520.790.8485

Fees

Please Contact Artist to Negotiate Fees

Educator/Staff Training

For orientation training, I meet with the residency program director and the school staff. I like to get them excited about my artist-in-residency, so I introduce myself by performing my "Vietnam Blues" and poetry, followed by storytelling about my life. This provides an opportunity for the staff to become familiar with my work and to understand why and how I became an artist. I then open the floor for discussion along with answering questions while emphasizing that I will work closely with the director and staff throughout the residency. I also stress that the school's needs are top priority when I develop my program. I assure them that I am open and flexible to changes in my program and I encourage them to meet with me if they feel changes are needed.

The next step in my orientation process is to describe my artistic approach to creative writing, songwriting, harmonica playing, and performing, interspersed with examples from my poetry chapbooks. I also describe the artistic approach I use when teaching so the director and staff can get an idea of the methods and techniques I use to get the students "pumped" about writing and performing. I show examples of student chapbooks from my past residencies and explain that the books are sold at the culminating "Poetry Slam" as a fundraiser for the school. I give details about the "Poetry Slam" so the staff understands that it's not only an art form, but that it's a perfect tool to attract community participation.

My orientation ends by reviewing the arts standards and the professional standards that will be addressed during my residency program. If the school has arranged for my program to include creative workshops for the staff, I invite everyone to attend. I encourage their participation because they can get credit toward recertification hours, while building a close relationship between staff and artist.