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An Interview with a Ghost Hunter

With Halloween rapidly approaching and the veil between this world and the next getting thinner, the Memphis Flyer couldn’t help but reach out to local paranormal investigator Tanya Vandesteeg to learn more about her ghostly occupation. By trade, Vandesteeg is an entertainer, having written productions and having performed in various musicals and at Disney World, Universal Studios, and SeaWorld. Now she, along with business partner Stephen Guenther, runs Historical Haunts Ghost Tours and conducts investigations with the Historical Haunts Team, which she co-founded. 

Memphis Flyer: How did you get into the paranormal?

Tanya Vandesteeg: I was the creepy girl in school — I guess, I still am. I grew up in Texas and we moved a lot. To make friends with everybody in my new school, I would always just ask them things like, “Oh, what’s the local legend in your town?” I was always really curious about it, and I was always really wanting to debunk it, too.

But I was really into it. I would see portals in my room when I was a small child, like these really spinning weird things. My mind’s always in the supernatural. Things have always come to me and been attracted to me. I always knew there was something else there, so it never was even a question in my life.

So, in college, I found a group of us that wanted to go hunt these things a little more. And then in Orlando, I formed another group, and then I lived in Los Angeles where I did some stuff there. It wasn’t until here where I got into really an official paranormal group. And that’s how I met Stephen [Guenther], and then we decided to break off that group and make our own group, and the rest is history.

What makes someone more sensitive to the paranormal?

I don’t know what makes a person more special than others. Some can see the full body apparitions. Some don’t. Some don’t wanna see it and they see it anyway. I think it’s a gift. I think it can be genetic. I think it also depends on what blood type you are, what astrological sign you are. More closed-off signs don’t tend to attract spirits as much as other signs. 

We always say love and gratefulness are the highest levels of vibrations. And so if you’re loving and caring and grateful and thankful, you’re going to vibrate on that level [of the spirits].

What does a paranormal investigation look like?

If someone says they have a haunting in their house, we offer our services for free. We send a questionnaire; we do interviews. We wanna make sure that we’re a good fit. Like, we don’t do exorcisms; we’re not demonologists. But once we say, “Okay, this is a good fit,” we get the team together and we’ll set up some of our equipment, like K-II meters, which read electromagnetic fields. And a lot of times people will sense things or feel things that are actually natural because if you have too many electromagnetic fields running through your house it can create feelings of paranoia, feeling like somebody’s staring at you from behind.

One of the last cases that we were on, they had all these mesh boxes for their Wi-Fi in this really small living room, and all of our devices were going off like crazy. I even felt heavy sitting in that room. We call it a fear cage because it’s natural electromagnetic fields that are surrounding you, but they’re creating a kind of a supernatural environment. We unplug everything and then we show them our meters. Everything’s clear.

So we try to debunk as much as we can before really investigating. We set up cameras, motion detectors, and our team will go through all of the footage. A lot of it is putting headphones on and listening to see if there are any voices we didn’t pick up while we were there — those are called EVPs, electronic voice phenomena. We compile all the footage and we come back with the client. We’re like, “Okay, this is what we found. This is what we didn’t find.”

What kind of hauntings have y’all come across?

There is the whole thing of attachments. Typically, if something’s tied to the land or tied to the house, it won’t go with you. That’s one of the initial questions that we have when people have an investigation. Like, how old’s your house? How long have you experienced this? Have you experienced this before you lived here or experienced it after you moved here? Then we can figure out if something’s tied to you or something’s tied to the house. Typically, it’s the house, land, or an object in the house. Very rarely are you gonna have something that’s just following you around in life. If you believe in your spirit guides, like ancestors, loved ones, that’s a little different.

What kind of tools do you use?

Believe it or not, we use these little cat toys with motion detectors in them, so sometimes we’ll line them down a hall to see if something will set them off. We’ll also set up these laser grids, and if a spirit comes through it, it’ll manipulate it. 

There’s the Spirit Box, which is a device that scans through AM and FM channels really fast to create white noise. We ask a question like, what’s your name? And something answers back that we might hear with our ears or if we don’t, we’ll see if something was caught on the audio recorder.

We have dowsing rods, which are really fun. They’re some of my favorite investigative tools; they’re just rods and you can ask questions and the spirits can manipulate them. “If so-and-so is here, can you cross the rods?” We also use K-II meters and ask questions to see if the spirit will light a certain color for an answer.

Paranormal investigative tools (Photo: Abigail Morici)

Have you ever seen a ghost? 

We always joke that we’re always looking for the tap-dancing ghost — somebody who looks full body, standing in front of us, going, “Here we are.” It just doesn’t happen that way. I always say the moment I see the tap dancing ghost, I’ll retire. That being said, we have seen full body apparitions. We’ve seen what would look like shadow figures.

There are also spirits that try to look like us, like imitation spirits, but they can never get the smile right. You can research that; it’s through all of history. One day, I left my best friend’s house, and then I drove down the street and saw my best friend standing next to a tree. And then she would smile and it would be really creepy, but it wasn’t her. But things don’t scare me. I get startled, but I don’t get scared.

Are there malevolent forces?

You will find what you’re looking for, and that’s what we always tell people if they wanna be an independent ghost hunter. Any joker with a flashlight and a cell phone could be a ghost hunter now. And that’s the problem — people are breaking in places, going in places they shouldn’t, doing things they shouldn’t. And I’m all about being a paranormal investigator, but do it right and do it safely. Not only physically, but spiritually. Whatever your religious beliefs are, you have to keep yourself protected because there are what we call the cockroaches of the spirit world. They’re lower vibrating, lower frequency, I wouldn’t say demonic or evil, but they’re just not good. And they will attach to you if you are not protected enough.

Like, on Ghost Adventures with Zak Bagans, where he goes into these houses and he is like, “Come at me and slap me and hit me” — that’s why he gets slapped and hit all the time ’cause you will find what you’re looking for. That’s his schtick, but we don’t recommend going and doing that. We don’t allow that on any of our tours or investigations. No provoking. We don’t call out spirits to fight us or scratch us or any weird things like that. Why would you go to somebody’s house in their location and make fun of them? We believe that they’re just differently living. 

But if you’re going to look for evil, you will find it.

Historical Haunts tour guides Damon and Amber (Photo: Abigail Morici)

Have you ever had an experience with something malevolent? 

One investigation was really heavy. A little 2-year-old was getting scratched. I was on a couch and I put my knees on my chest because all of a sudden I just started feeling not okay. We all started coiling up. We had to call our friend from New York, who can go into the spirit world and see what’s going on. She said there was something there that was not … not nice. And she had to get rid of it. 

Turns out one of the young kids in the house was trying to sell this soul to the devil. We were like, “Stop it.” Then we had a lecture.

Once our friend got rid of it, we could feel the whole environment change. We had a beautiful investigation after that. We contacted the father who had passed, and he came through on our Spirit Box and said things that we didn’t know about and told them he loved them. That’s the most rewarding thing about investigations — when families can find comfort.

Do you have any spirits that you — for lack of a better word — stay in touch with?

Two doors down from the Broom Closet [where Historical Haunts arranges tours], there was a patrolman that was brutally murdered — Edward Broadfoot — in 1918. His spirit haunts the building. There’s still a blood stain on the floor. It’s all down in the basement. But he comes through all the time. We were just on our tour the other night, and we talked with him with dowsing rods. He’s a good friend of ours. We helped get him his memorial at Forest Hill as well. 

But, yeah, we always call out the spirits around here. At Court Square, there’s a little boy that died in the fountain. Claude Pugh is his name. It was in all the papers at the time. [Read more about Claude here.] Claude knows us really well.

The Haunted Memphis Bus Tour stops at Court Square’s fountain where Claude Pugh’s spirit resides. Attendees have the chance to communicate with him, using the group’s investigative tools. (Photo [captured poorly by] Abigail Morici)

We’ve made more friends with spirits out there. There’s a sailor or a soldier — we can’t figure out, but we know that when there are more younger girls on the tour, he comes out more often. There’s sometimes a male spirit there that is kind of intimidating and he’ll chase off all the other spirits and make our equipment go crazy.

Sometimes I walk down the street and I’m like, “Is everybody I’m looking at, are they real?” It’s like, what if we are seeing ghosts and we just don’t know?


Historical Haunts’ tours include the Haunted Memphis Bus Tour, Haunted Pub Crawl, Memphis True Crime Tour, Walking Ghost Hunt, Memphis Brew Bus, and Ghost Hunt at Earnestine and Hazel’s. You can schedule a tour here

If you are experiencing paranormal or unexplained activity, you can reach Historical Haunts’ investigative team here

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New Moon’s Evil Dead: The Musical

We may be in a national blood shortage (donate if you can!), but the folks with New Moon Theatre Company have a surplus of blood — fake blood, that is — and they’re ready to shower their audience with it.

What exactly calls for blood to run on the stage of New Moon’s latest production? Well, it’s all for Evil Dead: The Musical. Taking elements from the cult classic films Evil Dead, Evil Dead 2, and Army of Darkness, the show spins the tale of five college students going to an abandoned cabin and accidentally unleashing an evil force that turns them all into demons. But, as director Ann Marie Hall says, “In this case, they’re all singing and dancing” — to songs like “All the Men in My Life Keep Getting Killed by Candarian Demons” and “What the Fuck Was That.”

“‘What the fuck was that? Your girlfriend has turned into a demon,’” chirps Hall during our phone call. “‘What the fuck was that? Your sister’s a demon, too.’ And then two of the main guys do a tango.”

Hall adds, “It’s kind of stupid and funny, just the kind of way I like my show. Stupid and funny.” Indeed, Hall has acted in and directed a number of comedic shows, most recently having directed Theatre Memphis’ You Can’t Take It With You.

“I like to laugh. I like to make people laugh. That’s my favorite thing — hearing people laugh,” she says. “I will try to find the comedy wherever it is. And sometimes it’s just in the tragedy. So when somebody gets their head lobbed off or you have to kill your girlfriend with an axe, then chop it up later with a chain saw, that’s terrible, but sometimes it’s funny.”

So when presented the opportunity to direct New Moon’s Evil Dead, Hall jumped at it immediately. She had seen the show years ago in Charleston and loved it — especially the Rocky Horror-like moments where the cast splatters the audience with blood in the midst of their violent throes. “I’d been trying to get somebody in town to produce the show for ages,” she says. “I’m so excited for the blood part.”

For those who are also excited for the blood part, the theater will have a special section reserved: the Splash Zone. These seats will quite literally be in the middle of the action, practically on the stage. “Your chairs are on the floor with the cast,” Hall explains. “They are dancing right up to your face.”

Tickets for the Splash Zone cost $35 and include a commemorative T-shirt. For those not wanting any blood on them (couldn’t imagine why), non-Splash Zone tickets are available for $30. Performances run Thursdays at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sundays at 2 p.m. through November 13th. Evil Dead is not recommended for those under 17. For more information or to buy tickets, call 901-484-3467 or visit newmoontheatre.org.

Evil Dead: The Musical, Theatre works, Friday, October 28-November 13, $25-$35.

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Letter From The Editor Opinion

Secrets That’ll Haunt

My grandmother can’t keep a secret, specifically my mother’s secrets. When I was 12, she spoiled the surprise trip to Disney World that my parents had planned to take my sister and me on. When I was 21, she broke the news that our two family dogs (may they rest in peace) ate our pet bird (may he rest in peace) when I was in kindergarten. Admittedly, even as a 5-year-old, I suspected that Doc had died under hushed circumstances, and now, at least, I know that my suspicions were right. Guess you could say that I have a sixth sense (more on that in the next paragraph).

But perhaps the biggest secret that has slipped through my grandma’s well-lipsticked lips was one that drastically shaped my identity: I had a ghost friend when I was 3, back when my family was renting a house that happened to be directly across the street from a cemetery in New Orleans. Reader, this meant that six years, two-thirds of my life at the time — I knew my fractions — had gone by without mention of the fact that I had my very own Casper. I had no memory of this, of course, but the betrayal I had felt in that moment at 9 years old, from the very woman who touts “no secrets in this family,” was like none I’ve felt since.

Once those beans were spilled at that fateful lunch, my mom looked like — well, she looked like she had just seen a ghost. Unlike the killer-dog secret which garnered nervous laughter upon revelation, this secret made my mom give Gammy the look I had thought was only reserved for when my sister and I were in deep, deep trouble, the kind of trouble where we went to our room without having to be told. This secret was unspeakable, and she said as much: “I’m not talking about it.”

To this day, I cannot get this woman to tell me all the dirty, ghostly details, and I try. Trust me, I try. In between begging for answers and “Jesus Christ, Abigail, ask me again and see what happens,” I’ve gathered a few tidbits. My mom would see me talking to nothing, though I claimed to be talking with my friend. I called her Dorea. She was around my age. She had a brother. She came to New Orleans on a ship. I told my mom Dorea wore “pantaloons” under her dress — a word far outside my 3-year-old vocabulary. I said she looked “strange” — the only word in my vocabulary that I could muster to describe whoever, or whatever, I was seeing.

Regardless, it was enough to freak my mom out. She won’t drive past that house anymore. The family that lived there after us died in a plane crash. I’m sure there’s no relation; she’s not so sure.

Despite my mother’s clear aversion to the topic, after I found out about Dorea, I felt like a badass. I was (am) a shy kid, but apparently my shyness didn’t stop me from speaking with the dead. Dare I say, I felt like the Virgin Mary, the ultimate lady in my Catholic schoolgirl frame of reference — hand-selected for something greater than what the skeptics in this world could handle. I longed to find a way to wedge Dorea into my story, to make her more than just a one-line anecdote that my grandmother casually mentions in a conversation at a random Tuesday lunch.

I’d try to force a memory of that time, to picture what Dorea looked like, what our conversations could’ve been, but all I can remember from that house was the green carpeted staircase that I took a tumble down in front of the young handyman (the embarrassment!) and the PBS Kids logo that floated on the TV screen when my mom told me that our dog Hobbes (who we had before the bird-killing ones) had gone off to heaven, and that no, the vet didn’t kill him, no matter how convinced I was. (I guess my sixth sense wasn’t fully formed then … or maybe it was. Now, that’s a haunting thought.) Oh, if only I could remember Dorea instead.

But I don’t.

So now Dorea really is simply an anecdote with just enough embellishment to fill this short space in the Flyer, but not enough to write the next Nancy Drew-esque book that 9-year-old me had planned to get out of the whole “Dorea thing.” (Dorea would’ve been the perfect Bess to my Nancy, I was convinced.) Every now and then, I’ll hop onto Google and go down hours-long rabbit holes of census records, looking for some kind of answer, but I’m as clueless as ever.

There’s a part of me that thinks I should just let the idea of her go and be grateful that I had a friend when Hobbes died or when my mom was dealing with my grouchy, recently born little sister. I was never alone or lonely in that house. I wonder, though, if Dorea is.

I’m going back to New Orleans for the weekend, which just so happens to be Halloween, when the veil between this world and the next is thinnest. Maybe I’ll drive by that house. In theory, I’m old enough to go by myself, but my mom has volunteered Gammy to go with me. Maybe I’ll see Dorea, or maybe I’ll just get another secret out of my grandma. Either way, I’ll be in good company.

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Art Art Feature

“CHOICE” Gallery Show

According to the Pew Research Center, 61 percent of U.S. adults say abortion should be legal in all or most cases, while 37 percent think abortion should be illegal in all or most cases.

Local artist Stephanie Albion falls in this 61 percent. Once the Supreme Court’s decision to overturn Roe v. Wade leaked in May, she knew she had to do something to express her anger, frustration, and sadness, so she turned to collage, her mode of communication. She also turned to Danielle Sumler in hopes of reviving the Nasty Women of Memphis.

In 2017, Sumler, along with Chelle Ellis, founded the Nasty Women of Memphis, joining a movement of other Nasty Women chapters throughout the country who were putting on pop-up exhibitions in response to the 2016 election. “The whole thing is, one, giving artists a chance to just express themselves and have a conversation,” Sumler explains, “but also, making it a fundraiser, too. The artist, when they submit their work, price it themselves, but each piece needs to donate at least 50 percent to Planned Parenthood, with the rest going directly to the artist. Some choose to donate more.”

For that first exhibition, Ellis and Sumler had met only a month before opening. “It was very fast,” Sumler says. “I think I was kind of shocked by how well received it was under that timeline. We were packed that opening night. It was really exciting — all the positive responses, not only from the artists who submitted but also all the people who came.”

Nasty Women of Memphis’ opening reception in 2017. (Photo: Nasty Women of Memphis)

That year, Nasty Women art exhibitions spread globally, raising money on behalf of women’s rights, individual rights, and abortion rights, but now most of the chapters are seemingly defunct, including the original New York City chapter. Yet in Memphis, the Nasty Women have put on three exhibitions since that inaugural year. 

The next exhibition opened in 2018 and addressed the Me Too Movement and Brett Kavanaugh’s U.S. Supreme Court confirmation. The third opened virtually in 2020, responding to all that was 2020.

“We actually closed on the day the election results came in, so that was pretty cool,” Sumler adds. After that, Ellis and Sumler had agreed that the 2020 exhibit would be their last exhibit, feeling that they had said all they needed to say. “We were kind of like, ‘We’ve done this enough, we’ve had our time with it.’” 

But then Roe v. Wade was overturned, and Stephanie Albion reached out to Sumler. “We were like, ‘Well, that’s a perfect reason to wanna do something.’” So on June 25th, the day after the Roe v. Wade reversal, they announced that another exhibition would happen — “another chance to express our rage through art and another chance to support Planned Parenthood.” The show would be titled “CHOICE.”

Angi Cooper’s Objectification Board (Photo: Courtesy the Artist)

The call for artists went out to women, people with uteruses, and all those who support reproductive rights. “It’s really important for us to make it an inclusive conversation because not only does this affect someone who identifies as female, but it affects everyone really.” From there, Sumler, Ellis, Albion, and artist Savana Raught worked together on a volunteer basis to select the more than 80 artists of various media and styles. In the end, the pieces, when put together, touch on a range of emotions coming out of the reversal of Roe v. Wade: frustration, sadness, fear, anger. 

Cheryl Hazelton, who is featured in the show, writes in her artist statement, “I’m terrified of what the future might bring. I need to do something … anything … to support the fight against this obvious aggression.” Meanwhile, Emma Self Treadwell writes, “If it were up to me, I’d line the walls of Congress with uteruses as a reminder that we are here, and we are all around you … so choose wisely what you do with our rights.” 

Mary Jo Karimnia’s The Fall 3 (Photo: Courtesy the Artist)

Overall, each piece points to the consensus that, as artist Jenee Fortier writes, “Access to safe abortion services is a human right. None of us are safe until all of us are safe.”

You can schedule a tour of the show here or by emailing nastywomenmemphis@gmail.com. The group will host a closing reception Friday, October 21st, 6 p.m.-8 p.m. You can also view and purchase work from the show online. Prices start at $10, and proceeds will benefit Planned Parenthood of Tennessee and North Mississippi

“CHOICE,” Marshall Arts, 639 Marshall Ave., on display through Friday, October 21st.

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Overton Park Conservancy’s NatureZen Week

The age-old debate pits nature against nurture, but being in nature can nurture the mind, body, and spirit. To that point, Overton Park Conservancy (OPC) is hosting its first-ever NatureZen Week.

The week, which kicked off on October 16th, features short mindfulness walks, led by volunteers from various disciplines — spiritual, artistic, wellness, ecology — to encourage people to slow down, take in their surroundings, and disconnect for a bit. “They’re kind of like the Japanese concept of forest-bathing where it doesn’t take a very long time to feel the benefits of nature,” says Melissa McMasters, OPC’s director of communications. “You just have to intentionally go and kick your mind off of other things while you’re there, and your body and your mind start to respond.”

The ultimate goal of these walks and of the week overall is to serve as a launching pad for OPC to implement more mindfulness walks and activities. The idea arose from the times of lockdown. “We started running a NatureZen series on our blog and in our email,” McMasters explains, “and we kept putting out all this messaging to encourage people to still get to the park if they could and enjoy the beauty of nature, just as some kind of a counterbalance to the pandemic. Now we are looking more into public programming.”

To conclude the week, OPC invites all to Club House Zen at the Brooks Museum Plaza. “It’s gonna be kind of a happy hour,” McMasters says. The celebration will also mark the closing of the Brooks’ outdoor pop-up exhibit, “Evanescent,” a collection of larger-than-life bubbles.

“It’ll be really cool to have a dance party with the bubbles,” McMasters adds. DJ Bizzle Bluebland and Ross al Ghul will spin tunes, and food and drink will be available for purchase. A donation of $25 to the conservancy will get you a wristband for free food and drinks for the evening. For more information and a full schedule of mindfulness walks, visit overtonpark.org/naturezenweek.

Club House Zen, Memphis Brooks Museum of Art Plaza, Friday, October 21, 5:30-7:30 p.m., free.

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Historical Haunts Ghost Tours

“I was the creepy girl in school,” Tanya Vandesteeg says. “I guess I still am, but we moved a lot when I was a child. And to make friends with everybody in my new school, I would always ask them things like, ‘Oh, what’s the local legend in your town?’ I was always really wanting to debunk it.”

Despite this desire to debunk, Vandesteeg has never doubted the existence of the paranormal. “I was really into it. I would see portals in my room when I was a small child — like these really spinning weird things. And I would hear voices and have visions.”

Once at college, her paranormal proclivities led her to ghost hunting, a hobby that she continued as she moved from place to place until she landed here in Memphis, where she joined her first “official paranormal group.” That’s also where she met fellow paranormal investigator Stephen Guenther. “We decided to break off that group and form our own group,” Vandesteeg says.

Since then, the Historical Haunts team has performed and continues to perform a number of paranormal investigations, and eventually the two founders branched out into offering haunted tours, where guests can learn about Memphis’ ghostly history and try their own hand at ghost hunting. And, yes, there will be paranormal activity on these tours, Vandesteeg assures.“We don’t fake anything.”

In fact, whether you see a ghost or not depends on your intentions and energy. “If you’re all closed off and negative about it you’re not going to be vibrating on the same level as the spirits,” she says. “We always say if you’re loving and caring and grateful, you’re going to vibrate on that level.” With that in mind, the group does not tolerate provoking spirits.

Historical Haunts Ghost Tours’ various tours — including the Haunted Memphis Bus Tour, Haunted Pub Crawl, and Walking Ghost Hunt — run weekly. For more information or to buy tickets, visit historicalhauntsmemphis.com.

Historical Haunts Ghost Tours, historicalhauntsmemphis.com.

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Cotton Museum’s Diversity of the Delta Series

Look at what you’re wearing. With approximately 90 percent of clothing sold in the U.S. being made with cotton or polyester, it’s likely that you have cotton on you right now or did yesterday or will tomorrow, and it’s even more likely you don’t know who made that article of clothing or what their working conditions were. After all, the industry behind cotton has a complicated, exploitative history, especially in the U.S. — a history that The Cotton Museum expands upon in its Diversity of the Delta series.

The first installment of the series occurred last week, with Rhodes professor Tim Huebner speaking on slavery, Memphis, and the Mississippi Delta. This Thursday, the museum will host its second installment, this time focusing on the first Italians to come to the Delta. “They came here as sharecroppers, and they suffered a lot,” says Ann Bateman, The Cotton Museum’s manager. “There’s no comparison with slavery, however. But they were also abused and discriminated against during the sharecropping era.”

Photo: Abigail Morici

Anthony Borgognoni will present the talk, based on his mother Elizabeth’s research into the history of Italian immigrants who came to the Sunnyside Plantation in Lake Village, Arkansas, in 1895. Bateman also says that museum will touch on the Chinese immigrant connection to the cotton industry in a future talk in 2023. “We’re going to keep trying to continue that series as long as we have people who will speak and people who are interested.”

Out of this series also came the inspiration for the museum’s latest temporary exhibit: “Cultural Influences in Quilting.” Just as cotton has an interconnected history between cultures so does the practice of quilting, and these cultural influences evince themselves in the different patterns, color blocking, and stitching.

Being able to see the different influences — Japanese, German, Indigenous, Italian, and African, among others — in one room, Bateman says, shows how cotton, “a wonderful and valuable crop,” has the potential to unify if used for good.

“Cultural Influences in Quilting,” The Cotton Museum at the Memphis Cotton Exchange, on display through October 31.

Diversity of the Delta, Thursday, October 13, 6 p.m., free.

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Elmwood Cemetery Hosts Soul of the City Fundraiser

Elmwood Cemetery, no matter when you go, is never a dead scene — even its dead aren’t really dead all the time. And no, I’m not talking about ghosts or lost souls. I’m talking about Elmwood’s annual fundraiser, Soul of the City, where you can meet some of the cemetery’s residents in the flesh. This year’s event is all about music.

On these one-hour walking tours, which will be offered October 6th through 8th, guests will be guided along lit paths, from site to site, to hear the stories from Memphis’ best songwriters, producers, composers, and singers, including Wayne Jackson, Sid Selvidge, Jimmie Lunceford, Sister Thea Bowman, John Hampton, and Lillie Mae Glover. Plus, you’ll hear about the legend of Stagger Lee. “There’s a connection to Memphis and Elmwood, which I think is very interesting,” Kim Bearden, Elmwood’s executive director, says.

“We don’t always do a theme,” Bearden adds, “but we’re coming out of a really difficult couple of years. We decided we wanted to celebrate the finest of Memphis — our best export, which I think everyone can agree is our music.

“This year we’ve added a couple special touches,” she continues. “We’re going to have the music playing in the background. It’s going to be floating in the cemetery. It’ll make the stories being told even more relatable because so much of the music will be so recognizable.”

After the tour, guests can enjoy fare from Mempops on Thursday, Pok Cha’s Egg Rolls on Friday, and 9DOUGH1 on Saturday. Tickets cost $22 for adults and $18 for veterans, students, and seniors. Children under 12 get in free. Register online at elmwoodcemetery.org/soul-of-the-city-2022 or call 901-774-3212.

Soul of the City, Elmwood Cemetery, Thursday-Saturday, October 6-8, 5 p.m.-8 p.m., $18-$22.

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Paint Memphis’ One-Day Paint Festival Colors Broad Avenue

They say watching paint dry is boring, so watching paint be painted must be exhilarating. Who can resist the sloshing of brushes, the smell of wet paint, the thrill of a slow, controlled stroke? Oooh, do you have goose bumps yet? Well, if your goose isn’t properly bumped yet, oh boy, it’ll be bumped at Paint Memphis’ one-day paint festival, where more than 150 artists will paint Broad Avenue Arts District red, and blue, and purple, and pink, and … pretty much every color out there.

This year, artists of all styles from throughout the country will paint 50,000 square feet of wall space along Hollywood, Broad, and Scott streets. “This year we have over 34 buildings we’re painting on,” say Paint Memphis’ director Karen Golightly. “So it’s totally different than we’ve done before. I think our max before was like six or seven. It’s really pushed us to engage more than we ever have, just to really partner with so many different businesses and residents and building owners, so that we can make sure we are communicating a positive message to the community and really trying to reflect this community, its history and its vision for the future.”

Photo: Courtesy Paint Memphis

In addition to the live painting, the festival will include around 50 vendors, a hands-on mural workshop by Zulu Painter, a skateboarding workshop by Society Memphis, a performance by Memphis Hoopers, a henna demonstration and performance by Kumar Indian Dance Troop, and a children’s hands-on makers space.

Plus, for the first time, Paint Memphis will feature pop-up galleries at Memphis Current, Meaty Graffiti, and Vice & Virtue Coffee, where the artists, all of whom volunteer their time for the festival, can sell their work. The galleries will be open Friday from 5 to 8 p.m. and throughout the day Saturday.

Overall, Golightly wants to bring more public, accessible art to Memphis. “One of the best things is that it has become a place where people can go and be proud of their neighborhood,” Golightly says. “I’ve seen the data on it that transforming gray walls anywhere into beautiful murals lowers crime, draws more tourists there, and can reflect the neighborhood.”

Paint Memphis, Broad Avenue Arts District, Saturday, October 8, noon-6 p.m., free.

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Art Art Feature

Sepideh Dashti’s “Liminality”

Woman, life, freedom — these three words have rallied protesters across Iran after the September 16th death of 22-year-old Mahsa Amini, who died in police custody after being stopped by modesty police for not wearing her hijab properly. The protests haven’t stopped since. Iranian women are cutting their hair, burning their hijabs in the streets, defying the compulsory hijab law. The death toll continues to rise, but they persist.

Thousands of miles away in Memphis, artist Sepideh Dashti, who emigrated from Iran with her husband in 2011, feels the country’s pain and hope. “This is different. This is really different,” she says. “Like watching it from the news, it’s so inspiring to see all these women in the streets. I really want to be there now.”

Dashti, for her part, echoes the feminist protests in her show “Liminality,” which centers on the feminine body and its paradoxical experience. “Most of my art is about the body,” she says, “because in my country, we were always talking about hiding your body. It’s about control. When you are in public, as a woman, you are not even allowed to smile or laugh.”

“Then I moved to Canada and some people smiled. And I said, ‘What happened to these people?’”

That wasn’t the only culture shock for Dashti, who, despite her background in engineering, pursued an education in fine arts once in Canada. “I remember in this drawing session that they had a nude model. It was shocking for me,” she says. “And at the beginning I couldn’t watch them, even females. My ears were really hot, and then I started to work on myself and started reading about the different waves of feminist theory.”

Gisoo, 2021 (Photo: Sepideh Dashti)

Over time, themes of feminism began to enliven her work, simultaneously empowering her and invoking anxiety. Outside of Iran, she says, she can speak freely about her contentious relationship with her home country, but there, she has to censor herself. “Maybe they’ll arrest me. I don’t know, but I cannot stop myself from speaking about this.” Despite this vulnerability, she has persisted through the uncomfortable and even invites her audience into this liminal space, where vulnerability is a form of power, a practice of patience.

In a video looped on a gallery wall, a clump of hair grows slowly from the back of a mouth, jutting itself parallel to the tongue, leaving it dry and inciting a similar sensation in the viewer. Inspired by a Persian idiom, Dashti says, the piece symbolizes “waiting for a long time and requesting for freedom for a long time” — so long that having to repeat the same requests over and over again leaves your mouth parched.

But there is hope that this perseverance will be worth it, that women like Dashti can claim their femininity and Iranian identity with pride. Dashti’s piece Tangled demonstrates this hope, using her own hair and her daughter’s to embroider a grid pattern worn by the Iranian paramilitary, who aim to control women’s bodies, conceal their hair, and limit their self-expression. By weaving herself (quite literally) into this symbol of control, Dashti reclaims this pattern as one representing feminine expression and endurance. She defines the act of sewing as a “feminine action that connects me to the women in my family.” In this way, sewing and, by extension, domestic work takes on a power of its own, a power backed by generations.

In turn, domesticity, traditionally gendered as female, has grounded the artist as she explores her diasporic experience and her desire to find meaning in it. In Under Current, Dashti uses dryer lint to shape continents on a globe. The lint, she says, while representative of the domestic, holds memories of her family. “You can see there are pieces of tissue. I always tell my kids, ‘Do not leave tissues in your pocket,’ but they do.”

In addition to lint, Dashti has attached scraps of metal from beer cans embroidered with wordplay in English and Persian, for instance taking the word “nomad” and separating it into its syllables, “no” and “mad.” The words are scattered across the globe, often with only one visible at a time depending on where the viewer stands, as if lost in a sea of translation yet in the midst of spurring new meaning.

Accompanying this piece plays a recording of found sounds from Iranian protesters, specifically women, throughout the decades, in addition to a reading of Jacques Rancière by her daughter. One sound clip features a young Iranian girl who was arrested by the modesty police, shouting, “Leave me, leave me, let me go.”

“It’s kind of inspired by an essay that talks about male voices being dominant,” Dashti explains, “but female voices are considered noises.” Yet in this show, these female voices are the sounds heard across the world, the chants that beckon Dashti’s nostalgia and activism, the chants that unite woman, life, and freedom.

“Liminality” is on display at Beverly & Sam Ross Gallery at Christian Brothers University through Saturday, October 8th. Sepideh Dashti will discuss her work, Friday, October 7th, noon-1 p.m.